The Rosie Project Book Club Discussion Questions

In some ways, by Graeme Simsion is a light, fun read for book clubs that need a break from heavy books. Simsion does, however, give groups plenty to discuss about Asperger syndrome, love, and relationships. Hopefully, these questions will help you have fun discussing the book. Spoiler Warning: These questions contain details from the end of the novel. Finish the book before reading on. Discussion Questions Dons character is both more aware of some dynamics (social, genetic, etc) and also very oblivious to some of these. Take, for instance, when he is giving the lecture on Asperger syndrome and he says, A woman at the rear of the room raised her hand. I was focused on the argument now and made a minor social error, which I quickly corrected.The fat woman— ​an overweight woman—at the back? (10)What are some other examples of this kind of behavior that you remember from the novel? How did this add humor?The reader is supposed to understand that Don has Asperger syndrome. If you know anyone with this diagnosis, did you think it was an accurate portrayal?There were several times in the novel when Don misses the social rules, but the case he makes for his side is very logical. One example is the Jacket incident (43) when he does not understand that jacket required means suit jacket and tries to argue all the ways his Gore-tex jacket is superior. Did you find this, and ot her times like it, amusing? What were some of your favorite scenes? Did hearing his perspective make you rethink social conventions? (Or consider using the standardized meal plan?)Why do you think Don is so drawn to Rosie? Why do you think Rosie is drawn to Don?At one point, Don says about one of the father candidates, Apparently he had been an oncologist but had not detected the cancer in himself, a not-uncommon scenario. Humans often fail to see what is close to them and obvious to others (82). How does this statement, about people failing to see what is in front of them, apply to the different characters in the novel?Why do you think Don was so successful at selling cocktails? Did you enjoy this scene?The novel mentions that Don struggled with depression in his early twenties and also talked about his strained relationship with his family. How did he cope with these issues? Are he and Rosie similar in the ways they deal with hard parts of their past?What did you think of Gene and Claudias relationship? Was Genes behavior humorous or frustrating to you?Did you think it was believable in the end that Don would be able to see from the Deans perspective, the perspective of the student who cheated, Claudias perspective, etc? Why or why not?Did you guess who Rosies real father was? Which parts of the Father Project did you like the most (the basement confrontation, the bathroom escape, the trip to the nursing home, etc)?Graeme Simsion published a sequel to The Rosie Project in December 2014—The Rosie Effect. Do you think the story could go on? Would you read the sequel?Rate The Rosie Project on a scale of 1 to 5.

The Last Dance Chapter Ten Free Essays

It is Palmer who makes the first contact, toward the end of September. He tells Cynthia on the telephone that he’s had a transatlantic call from Norman Zimmer, who’s producing a musical based on Jenny’s Room, is she familiar with . . We will write a custom essay sample on The Last Dance Chapter Ten or any similar topic only for you Order Now . ? â€Å"Yes, he’s been in touch,† Cynthia says. â€Å"I hate to bother you this way,† he says, â€Å"but from what I understand, the project may be stalled because of your father’s intransigence.† â€Å"Yes, I know.† â€Å"It does seem a shame, doesn’t it?† he says. â€Å"All these people who’d stand to earn a little money.† â€Å"I know,† Cynthia says. â€Å"Couldn’t you talk with him?† â€Å"I have,† she says. â€Å"He won’t budge.† â€Å"It does seem a pity.† â€Å"He’s protecting Jessica, you see.† â€Å"Who’s that?† â€Å"Jessica Miles. The woman who wrote the original play. He feels she wouldn’t have wanted the musical done again.† â€Å"Really? Why’s that?† â€Å"Because it was so awful.† â€Å"Oh, I don’t think so, do youl I’ve read my grandfather’s book, and I’ve also heard the songs. It’s really quite good, you know. Besides, they’re having new songs written, and a new book, and – well, it’s truly a shame. Because I think it has a really good shot, you know. I think we can all become quite rich, actually. If it’s done.† There is a crackling on the line. She tries to visualize London. She has never been there. She imagines chimney pots and cobblestoned streets. She imagines men with soot-stained collars and women in long hour-glass gowns. She imagines Big Ben chiming the hour, regattas on the Thames. She imagines all these things. And imagines going there one day. â€Å"Couldn’t you please talk with him again?† Palmer says. It is she who makes the next call, sometime early in October. He has just come home from work, it is seven o’clock there in London, only two in the afternoon here in America. He tells her he works for â€Å"the last of the publishers in Bedford Square,† a line she surmises he has used often before. In fact, there is something about the way he speaks that makes everything sound studied and prepared, as if he has learned a part and is merely acting it. A lack of spontaneity, she supposes, something that makes whatever he says seem artificial and rehearsed, as if there is nothing of substance behind the words. â€Å"Have you seen him again?† he asks. â€Å"Several times,† she says. â€Å"And?† â€Å"Dead end.† â€Å"Mmm.† â€Å"He won’t listen to reason. He says the play is a sacred trust. . .† â€Å"Nonsense.† â€Å"It’s what he believes.† â€Å"She must have written it in the year dot.† â€Å"Nineteen twenty-three.† â€Å"Norman tells me it’s bloody awful.† â€Å"My father thinks it’s simply wonderful.† â€Å"Well, as the old maid said when she kissed the cow . . .† â€Å"It’s a shame this had to come along just now, though. The opportunity, I mean. To have the musical revived.† â€Å"How do you mean?† â€Å"Well †¦ ten years from now would have been so much better.† â€Å"I don’t under . . .† â€Å"Never mind, I shouldn’t have said that.† â€Å"I’m sorry, I still don’t . . .† â€Å"It’s just . . . my father isn’t in the best of health, you see.† â€Å"That’s too bad.† â€Å"And 7 certainly don’t have the same problems he has.† â€Å"Problems? What . . . ?† â€Å"With the play. With it being done as a musical. I have no emotional ties to Jessica Miles, you see. I never even met the woman. What I’m saying is I don’t give a damn about her play. In fact, I’d love to see the musical revived.† â€Å"But what’s ten years from now got to †¦ ?† â€Å"My father’s leaving the rights to me.† â€Å"Oh?† â€Å"To her play. When he dies. It’s in his will.† â€Å"I see.† â€Å"Yes.† There was a long silence. â€Å"But† she said. â€Å"It isn’t ten years from now, is it?† â€Å"No, it isn’t,† Palmer says. â€Å"It’s now,† she says. â€Å"Yes,† he says. â€Å"So it is.† He calls her again on the eighteenth of October. It is midnight here in America, he tells her it’s five a.m. there in London, but he hasn’t been able to sleep. â€Å"I’ve been thinking a lot about your father,† he says. â€Å"Me, too,† she says. â€Å"It seems such a pity he won’t let go of those rights, doesn’t it? Forgive me, but have you made your position absolutely clear to him? Have you told him your feelings about having this musical done?† â€Å"Oh, yes, a thousand times.† â€Å"I mean †¦ he must realize, don’t you imagine, that the moment he’s passed on †¦ forgive me †¦ you’ll do bloody well what you like with the play. Doesn’t he realize that?† â€Å"I’m sure he does.† â€Å"It does seem unfair, doesn’t it?† â€Å"It does.† â€Å"Especially since he’s in bad health.† â€Å"Two heart attacks.† â€Å"You’d think he’d hand over the play immediately, why wouldn’t he? With his blessings. Here you are, Cynthia, do with it as you wish.† â€Å"His only child,† Cynthia said. â€Å"One would think so.† â€Å"But he won’t.† â€Å"Well, when they get to be a certain age . . .† â€Å"It isn’t that. He’s just a stubborn old fool. Sometimes I wish . . .† She lets the sentence trail. He waits. â€Å"Sometimes I wish he’d die tomorrow,† she says. There is another silence. â€Å"I’m sure you don’t mean that,† he says. â€Å"I suppose not.† â€Å"I’m sure you don’t.† â€Å"But I do,† she says. There is a Jamaican named Charles Colworthy who works in the mail room with Palmer, and he knows another Jamaican named Delroy Lewis, who knows yet another Jamaican named John Bridges, who by all accounts is what they call a â€Å"Yardie,† which Palmer explains is British slang for any young Jamaican male involved in violence and drugs. â€Å"I wouldn’t want him hurt,† Cynthia says at once. â€Å"Of course not.† â€Å"You said violence.† â€Å"He’s assured me it will be painless.† â€Å"You’ve met him?† â€Å"Several times.† â€Å"What’s his name?† â€Å"John Bridges. He’s quite ready to do it for us. If you still want to go ahead with it.† â€Å"I’ve given it a lot of thought.† â€Å"So have I.† â€Å"It does seem the right thing, doesn’t it, Gerry?† â€Å"Yes.† There is a long silence. It all seems to be happening too quickly. â€Å"When . . . when would he do it?† â€Å"Sometime before the end of the month. He’ll need an introduction. You’d have to arrange that.† â€Å"An introduction?† â€Å"To your father.† â€Å"Is he black?† â€Å"Yes. But very light skinned.† â€Å"I don’t know any black people, you see.† â€Å"Very pale eyes,† Palmer says. â€Å"A lovely smile. All you need do is introduce him. He’ll take care of the rest.† â€Å"It’s just that I don’t know any black people.† â€Å"Well . . .† â€Å"I wouldn’t know what to say.† â€Å"Just say he’s a friend of yours from London.† â€Å"I’ve never been to London.† â€Å"A friend of a friend, you could say. Who’ll be there for a few days. Who you wanted your father to meet. Is what you could say.† â€Å"Why would anyone want to meet my father?† â€Å"You could say he once worked in a hospital here. Just as your father did. That would give them something in common. I’ll give you the name of a hospital here in London.† â€Å"I’ve never introduced my father to anyone in my life.† â€Å"It would just be to put him off guard.† â€Å"He’d be suspicious.† â€Å"Just someone you’d like him to meet. A nurse. Just as your father was.† â€Å"He won’t hurt him, will he?† â€Å"No, no, you needn’t worry.† â€Å"When did you say it would be?† â€Å"Well, he’ll come as soon as we authorize it. He’ll want half of his fee beforehand, half after it’s done.† â€Å"How much did he say?† â€Å"Five thousand.† â€Å"Is that a lot?† â€Å"I think it’s reasonable. Dollars, that is. Not pounds.† â€Å"I wouldn’t want him hurt,† she says again. â€Å"No, he won’t be.† â€Å"Well.† â€Å"But I have to let him know.† â€Å"What do you think we should do?† â€Å"I think we should go ahead with it. Twenty-five hundred dollars is a lot of money to me, but I look upon this as a serious investment. . .† â€Å"Yes.† â€Å". . . an opportunity to advance myself. I can’t speak for you, of course . . . but. . .I’ve never really had very much in my life, Cynthia. I work in the post room, I don’t get invited to very many balls at Windsor. If this show is a hit, everything would change for me. My life would become . . . well . . . glamorous.† â€Å"Yes,† she said. â€Å"I think we should do it,† he said. â€Å"I truly do.† â€Å"Well then . . .† â€Å"What I’ll do, if you agree, I’ll give John my half of the fee just before he leaves London, and you can pay him the rest when he’s done it. There in America. Afterward. Would you be happy with that?† â€Å"I guess so.† â€Å"Shall I call him then?† â€Å"Well . . .† â€Å"Tell him we’re going ahead with it?† â€Å"Yes.† Now, sitting in the lieutenant’s office with her lawyer and the detectives, she lowers her eyes and says, â€Å"John was very charming. He and my father hit it off right away. But he caused me a lot of trouble later. Because he said it would look like an accident, and it didn’t.† Gerald Palmer called the British Consulate the moment the cops told him what charges they were bringing against him. The consul who came over was named Geoffrey Holden, a somewhat portly man in his mid-forties, stroking a bristly mustache that made him look like a cavalry colonel. He took off his heavy overcoat and hung it on a corner rack. Under it, he was wearing a somber gray suit with a vest and a bright yellow tie. He told Palmer this was his first DBN of the week, which letters he jovially explained stood for Distressed British National. â€Å"Murder, eh?† he said. â€Å"Who’d you kill?† â€Å"I haven’t killed anyone† Palmer said. â€Å"Don’t be a bloody fool.† â€Å"Let me explain how American law works,† Holden said. â€Å"If you actually hired someone to kill someone else, then you’re as guilty as the person pulling the trigger. Murder for hire is first-degree murder, and the penalty is death by lethal injection. They use Valium. A massive dose that stops the heart. Conspiracy to commit murder is another A-felony. If you did either or both of these things . . .† â€Å"I didn’t.† â€Å"I was about to say you’d be in very deep trouble. If you did these things. Which you say you didn’t.† â€Å"That’s right.† â€Å"Being British is no excuse, by the way. It doesn’t entitle you to immunity.† â€Å"I don’t need immunity. I haven’t done anything.† â€Å"Well, good then. D’you know anyone named John Bridges?† â€Å"No.† â€Å"They seem to think you know him.† â€Å"I don’t.† â€Å"How about a man named Charles Colworthy?† Palmer’s eyes opened wide. â€Å"Supposed to work with you at Martins and Grenville. Good publishers, eh? D’you know him?† Palmer was thinking it over. â€Å"The way they have it,† Holden said, â€Å"Colworthy knows someone named Delroy Lewis, who put you in touch with this Bridges chap to whom you and Cynthia Keating together paid five thousand dollars to kill her father. But that isn’t so, is it?† â€Å"Well, I know Colworthy, yes. But . . .† â€Å"Ah, you do?† â€Å"Yes. We work together in the post room. But I certainly didn’t hire . . .† â€Å"That’s good. I’ll just tell them they’ve made a mistake.† â€Å"Where’d they get those names, anyway?† â€Å"From the woman.† â€Å"What woman?† â€Å"Cynthia Keating,† Holden said, and hooked his thumbs into his vest pockets. â€Å"She’s ratted you out.† Palmer looked at him. â€Å"But if you had nothing to do with this . . .† â€Å"Just a minute. What do you mean? Just because she gave them the name of someone I work with . . .† â€Å"The other man as well. Delroy Lewis. The one leading directly to Bridges. Who killed her father.† â€Å"Well, the only one / know is Charlie. He’s the one I work with. I may have mentioned his name to her. In casual conversation. If so, she must have contacted him on her own.† â€Å"Ah,† Holden said, and nodded. â€Å"To ask if he might know anyone who’d help kill her father, is that it?† â€Å"Well, I †¦ I’m sure I don’t know what she asked him.† , â€Å"Called London to arrange his murder, is that how you see it?† â€Å"I don’t see it any way at all. I’m merely trying to explain . . .† â€Å"Yes, that you, personally, had nothing to do with this.† â€Å"Nothing whatever.† â€Å"So Mrs Keating is lying to them. Has lied to them, in fact. She’s accepted a deal, you see. They’ve dropped the conspiracy charge and lowered the murder charge to second degree. Twenty to life, with a recommendation for parole.† Holden paused. â€Å"They might even offer you the same deal. Then again, perhaps not.† Palmer looked at him. â€Å"Because of the related murder.† Palmer kept looking at him. â€Å"They seem to think you did that one personally. The old lady. Martha Coleridge. I have no idea where she fits into the scheme of things, but apparently she was threatening a plagiarism suit. Do you know the woman I mean?† â€Å"Yes,† Palmer said. â€Å"That would constitute a second count of first-degree murder,† Holden said, and stroked his mustache. â€Å"So I doubt if they’d offer you the same deal, after all.† â€Å"I’m not looking for a deal.† â€Å"Why should you be? You haven’t done anything.† â€Å"That’s right.† â€Å"I’ll just tell them to forget it.† â€Å"Of course. They have no proof.† â€Å"Well, they have the woman’s confession. Which implicates you, of course. And our chaps may get something more from Bridges, if ever they find him. They’re looking for him now, apparently. In Euston. He lives in Euston.† Palmer fell silent again. â€Å"You won’t be granted bail, you realize,† Holden said. â€Å"You’re a foreigner implicated in murder, no one’s going to risk your running. In fact, till the dust settles one way or another, they’ll want your passport.† He sighed heavily, said, â€Å"Well, I’ll see about finding a lawyer for you,† and went to the corner where he’d hung his overcoat. Shrugging into it, buttoning it, his back to Palmer, he said, â€Å"You wouldn’t possibly have anything to †¦ offer them, would you?† â€Å"How do you mean?† Holden turned toward him. â€Å"Well,† he said, â€Å"I must tell you, with the woman’s confession, they have more than enough for an indictment. It’ll go worse for you if they catch up with the Jamaican and flip him as well, but even so they’ve got a quite decent case.† â€Å"But I haven’t done anything.† â€Å"Right. Keep forgetting that. Sorry. Let me talk to them.† He opened the door, hesitated, turned to Palmer again, and said, â€Å"You wouldn’t know anything about this little black girl who got stabbed up in Diamondback, would you?† Palmer merely looked at him. â€Å"Althea Cleary? Because they like to tidy things up, you see. If you can tell them anything about that murder . . . they’re not trying to implicate you in it, by the way, they seem to think the Jamaican did that one all on his own. Got into some sort of argument with the girl, lost his temper. Whatever.† His voice lowered. â€Å"But if he mentioned anything about it to you . . . perhaps before he went back to London †¦ it might be worth a deal, hm?† Palmer said nothing. His voice almost a whisper, Holden said, â€Å"He’s just a Yardie, y’know.† Palme’r sat as still as a stone. â€Å"Well, I suppose not,† Holden said. It suddenly occurred to him that the man was simply very stupid. He sighed again, and went out of the room. In the squadroom, they were speculating about what might have happened to Althea Cleary. â€Å"She takes the Jamaican back to her apartment,† Parker suggested. â€Å"He drops the rope in her drink, figures he’s home free. But while he’s waiting for it to take effect, she casually mentions she’s a working girl and this is gonna cost him two bills. He’s offended because he’s never had to pay for it in his life, male or female. So he stabs her.† â€Å"That’s possible,† Brown said, â€Å"but you’re forgetting something.† â€Å"What’s that?† â€Å"He’s gay.† â€Å"He’s bi.† â€Å"He thinks he’s bi.† â€Å"He wouldn’ta been there if he wasn’t bi,† Parker insisted. â€Å"He gets into the apartment,† Brown said, undaunted, â€Å"drops the pills, and starts moving on her. Trouble is he’s gay. She doesn’t excite him. He can’t perform. So he loses his temper and jukes her.† â€Å"Well, that’s a possibility,† Meyer said, â€Å"but something else could’ve happened, too.† â€Å"What’s that?† â€Å"Bridges drops the pills, right? Five minutes or so, the girl starts feeling funny. She accuses him of having put something in her drink. He panics, grabs a knife from the counter, lets her have it.† â€Å"Yeah, maybe,† Kling said, â€Å"but here’s what / think happened. He gets in the apartment . . .† â€Å"Who’s for pizza?† Parker asked. â€Å"They profile a Yardie as someone who enters the country carrying a forged or stolen British passport,† Carella said. â€Å"Usually – but not necessarily – he’s a black man from Jamaica, somewhere between the ages of eighteen and thirty-five. He’s either got a record already . . .† â€Å"Does Bridges have one?† Byrnes asked. â€Å"Nobody by that name in their files. They said he may be a new kid on the block, there’s a constant flow. Most of them are in the drug trade. Getting rope would’ve been a walk in the park for him.† â€Å"Is he wanted for anything?† â€Å"Not by the Brits. Not so far, anyway.† â€Å"Give him time,† Byrnes said. â€Å"Meanwhile, he’s running around London someplace.† â€Å"Or Manchester.† â€Å"Or wherever. Actually, we don’t need him, Pete. Nellie says the overt act is enough.† â€Å"Conspiracy and the overt act, yes.† â€Å"Which she’s already got.† â€Å"So let the Queen’s mother worry,† Byrnes said. Ollie felt very nervous, like a teenager about to ask for a first date. He dialed the number on the card she’d given him, and let the phone ring three, four, five . . . â€Å"Hello?† â€Å"Miss Hobson?† he said. â€Å"Yes?† â€Å"This is Detective Weeks. We talked about piano lessons, do you remember?† â€Å"No. Detective whoT â€Å"Weeks. Oliver Wendell Weeks. I was investigating the murder of Althea Cleary, do you remember? Big Ollie, they sometimes call me,† he said, which was a lie. â€Å"I wanted to learn five songs, remember?† â€Å"Oh. Yes,† she said. â€Å"I still do.† â€Å"I see,† she said. â€Å"I got a list we can pick from,† he said. â€Å"Did you find him?† â€Å"Who do you mean, Miss Hobson?† â€Å"Whoever killed Althea.† â€Å"He’s in London just now. We’re leaving it to the bobbies there, they’re supposed to be very good. When can we start, Miss Hobson?† â€Å"That depends on which songs you want to learn.† â€Å"Oh, they’re easy ones, don’t worry.† â€Å"That’s so reassuring,† she said drily. â€Å"But which ones are they exactly?† â€Å"Guess,† he said, and grinned into the mouthpiece. They had no idea they were in the middle of a race riot until it was full upon them. Until that moment, they’d been peacefully watching television and drifting off to sleep, Kling knowing he was due back in the squadroom at eight tomorrow, Sharyn knowing her day would start at about the same time in her office at 24 Rankin Plaza, neither anticipating an explosion, each surprised when it came. A panel of talking heads was offering its collective opinion on the war, the election, the wedding, the crash, the trial, the disaster, the game, the whatever because in America, it wasn’t enough merely to present the news, you then had to have half a dozen commentators parading their thoughts on what the news had just been all about. Over the background din, Kling was telling Sharyn there’d been an extraordinary number of people informing on other people in this case they’d just wrapped, a veritable chorus of rats singing to whoever would listen, when all at once a blond woman on the panel said something about the â€Å"so-called blue wall of silence,† and Sharyn said, â€Å"Shhh,† and someone else on the panel, a black man, shouted that the blue wall of silence wouldn’t be holding in the Milagros case if the victim had been white, and someone else, a white man, shouted, â€Å"This poor victim you’re talking about is a murdererl† and Kling said, â€Å"Milagros is one of the guys I mean,† and Sharyn said â€Å"Shhh† again, when all he’d wanted to say was that Hector Milagros had been given up by Maxie Blaine who’d been given up by Betty Young in a case virtually defined by perpetual snitchery. â€Å"You don’t know whether those men who went in there were white or black!† someone on the panel shouted. â€Å"You don’t even know if they were actually copsl† someone else shouted. â€Å"They were cops and they were whitel† â€Å"I’ll bet they were,† someone else said, but the voice wasn’t coming from the television set, it was coming from the pillow next to Kling’s. He turned to look at her. The blonde on television very calmly said, â€Å"I do not believe that any police officer in this city would maintain silence in the face of such a brutal beating. The police . . .† â€Å"Oh, come off it,† Sharyn said. â€Å". . . simply don’t know who went in there, that’s all. If they knew . . .† On the television set, the black man said, â€Å"The guy who let them in knows.† â€Å"Every cop in this city knows,† Sharyn said. â€Å"I don’t,† Kling said. And now there was a veritable Babel of voices pouring from the television set in a deluge of conflicting invective that rose higher and higher in volume and passion. â€Å"Instead of maintaining their ridiculous posture of. . .† â€Å"There are black cops, too, you know. I don’t see any of them . . .† â€Å"Would you come forward if †¦ ?† â€Å"You’re asking them to be rats.† â€Å"It’s not informing if the person †¦Ã¢â‚¬  â€Å"Milagros was in custody!† â€Å"He’s a criminal!† â€Å"So are the cops who beat him up!† â€Å"A murderer!† â€Å". . . almost killed him!† â€Å"He’s blackl† â€Å"Here we go,† Kling said. â€Å"That’s why they beat him up!† â€Å"Hang on, honey,† Sharyn said. Together, they huddled against the angry voices. At last, Kling said, â€Å"Wanna dance?† How to cite The Last Dance Chapter Ten, Essay examples

Strong evidence Essay Example

Strong evidence Paper One definition of knowledge is true belief based on strong evidence. What makes evidence strong enough and how can this limit be established? The Oxford Dictionary states evidence as Anything that gives people reason to believe in something . This is however incorrect, as one can provide strong evidence and not change peoples beliefs, if their belief is based on something else. Equally, one can believe in something without substantial evidence (for example God). In this essay however, we are focussing on strength of evidence. Concentrating on religion, mathematics, science and history, we will try to understand how we can measure strength of evidence in each case, and then conclude upon whether there is a universal measure of strength of evidence, or whether strength depends upon the area to which it is applicable.Religion is by definition true belief in something. From an atheists point of view, much of the evidence that proves the existence of higher beings has links that are tenuous at best. For example, the Bible speaks of the ten plagues. These appear to be inexplicable except for the acceptance of some form of divine power. We will write a custom essay sample on Strong evidence specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Strong evidence specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Strong evidence specifically for you FOR ONLY $16.38 $13.9/page Hire Writer However, modern science is now showing that these events may have been caused by something other than the presence of a god, and can be explained as acts of nature the eruption of nearby Mount Santorini would explain all the ten plagues, and also how Moses crossed the sea, which was not in fact the Red Sea, but the Reed Sea the result of a mistranslation from Hebrew . It is problems like this that many would say disprove religion. The problem we face is that religion is immaterial, therefore there is nothing to test, and scientists are only able to test things so that they may disprove them. Does this mean that religion cannot be knowledge, as there is no testable evidence? Is it not a purely scientific view to say that all evidence must be testable by scientific means? Many religious people believe there is evidence of the existence of higher beings in events that are considered miraculous, such as the sudden healing of an ill person thought to be beyond hope, which medical science cannot explain. Others would argue however that there are many natural phenomena which modern science cannot explain but we have evidence of, such as spontaneous human combustion the process by which people catch fire without source of ignition, and burn at temperatures high enough to burn bones, but do not damage their surroundings. Therefore though current technology may not be able to pinpoint the reason why miracles happen, future knowledge may be able to. Indeed, some people have proved the resurrection of Jesus through the principles of law the six disciples who were witness to his resurrection all testified to it, without any reason to lie. Maths is what many would call absolute knowledge, in that it cannot be disproved once proved. However, this is because maths is an abstract concept 2+2 equals 4 because this is one of the basic premises upon all of which math is based, you cannot therefore disprove it. Mathematical paradigms are established through proofs, which are a series of logical arguments. While evidence can be used to show existence of paradigms, it cannot prove them they must be shown as true using already established rules and deductive logic (the process of taking already established ideas and building upon them). In the case of Fermats last theorem, numerical evidence was given to show it was probably true, as even with computer aid, no numbers could be found to disprove the theory. This however did not constitute a proof, and it took over 300 years from the invention of the theory to its final proof. Therefore in mathematics, knowledge is not based on evidence, it is based on proof. This does not mean we cannot look at strength of evidence in mathematics. Evidence is used to show theories which might be true, and in this case, strength of evidence is purely based on amount the more examples you can give where the theory works, the stronger the evidence.Science is in essence a series of ideas and disproofs one has an idea, one shows it fits certain patterns, and that idea holds true until it is disproved. It is therefore unlike mathematics in that proven theories can later be disproved. It is also important to note that theories may be used which are known to be incorrect, but work for many examples. This is due to a lack of a better theory to explain behaviour. For example, the model of the atom with its orbiting electrons cannot work, as a moving charge would produce a magnetic field, taking away the electrons energy and eventually stopping it. This does not happen, however we stick to this model as evidence shows it works with most cases.

Why SAT SuperScoring means you should retake the SAT.

Why SAT SuperScoring means you should retake the SAT. SAT / ACT Prep Online Guides and Tips In this article, PrepScholar cofounder and statistics expert Dr. Fred Zhang explains why the SAT superscoring means you can get huge points by retaking the SAT. Many of you know that colleges often take the best SAT score in each section, but do you know how much you can gain by just a re-take? Do you know how to do your retake to max your score? Many students know about the Superscore concept in the SAT: the fact that many colleges only look at the best score in each section in admissions.For example, suppose you take the SAT twice with the following outcomes: Test Date Math Score Reading Score Writing Score Total March 620 600 760 1980 October 740 720 610 2070 SuperScore 740 720 760 2220 Even though you only increased your session SAT score from a 1980 to a 2070, and improvement of 90 points, your SuperScore increased by 240 points. I will tell you why this is incredibly important to your test taking strategy! More Times Matters Because you are getting the maximum of your SAT score over multiple sessions, then it is clear that the more often you take it, the higher your maximum score will be. Imagine if you were running a 100-meter dash, but only your best time mattered doesn't it make sense to run it more than once. Variation Matters When you retake the test, besides trying to do well, you also want to try to increase the randomness of your score what statisticians callvariance. The more varied your score is, the more likely your superscore is higher. This is actually quite subtle, so I'll repeat it again. Even if your score stays the same, you want to increase variation. For example, suppose your last SAT Math score was 600, which one of the below strategies would you take: A) A strategy that gives you a 50% chance of getting a 590 and a 50% chance of 610. B) A strategy that gives you a 50% chance of a 500 and a 50% chance of a 700. Take a moment to think about this. Done? If you chose B, you're correct! With the superscore, you care about only the upside, not the downside. The 50% chance of a 700 means much more than the 50% chance of a 610. How much can you gain? College Board has released thorough data about student score improvements between different tests. The key data: College Board shows that re-taking the test results in a variation of about 50.86 points in each section that's a huge amount of natural variation! It also means that riding off of this variation alone, I used Monte-Carlo simulation to prove that if you go from taking the SAT once to taking it twice, your superscore will go up in expectancy by 78 points! Supercharge the Superscore Okay, so that's awesome, but can you improve on that more? Yes! PrepScholar's training includes SAT test taking strategy as an important component of the prep process. Using our strategies, we'll show you how to increase the variation so your expected point increase is even higher, up to 100 points plus! And this is based on pure variation we also train you so your raw expected score goes up as well. With the two components combined, you can achieve hundreds of points of improvement. But the base story still holds: variation means you should take the SAT multiple times if you have the chance, and you should increase your test variation.

Recognize and Use Clauses in English Grammar

Recognize and Use Clauses in English Grammar A clause is the basic building block of a sentence; by definition, it must contain a subject and a verb. Although they appear simple, clauses can function in complex ways in English grammar. A clause can function as a simple sentence, or it may be joined to other clauses with conjunctions to form complex sentences. A clause is a group of words that contains a subject and a predicate. It may be either a complete  sentence (also known as an independent or  main clause) or a sentence-like construction within another sentence (called a dependent or subordinate clause). When clauses are joined so that one modifies another, they are called matrix clauses. Independent: Charlie bought a 57 Thunderbird. Dependent: Because he loved classic cars Matrix: Because he loved classic cars, Charlie bought a 57 Thunderbird. Clauses can function in several ways, as outlined below. Adjective Clause This dependent clause (adjective clause) is also known as a relevant clause because it usually contains a relative pronoun or relative adverb. It is used to modify a subject, much as an adjective would, and is also known as a relative clause. Example: This is the ball that Sammy Sosa hit over the left-field wall in the World Series.   Adverbial Clause Another dependent clause, adverbial clauses function like an adverb, indicating time, place, condition, contrast, concession, reason, purpose, or result. Typically, an adverbial clause is set off with a comma and subordinating conjunction. Example: Although Billy loves pasta and bread, hes on a no-carb diet. Comparative Clause These comparative subordinate clauses use adjectives or adverbs such as like or than to draw a comparison. They are also known as proportional clauses. Example: Julieta is a better poker player than I am. Complement Clause Complementary clauses function like adjectives modifying a subject. They usually begin with a subordinating conjunction and modify the subject-verb relationship. Example: I never expected that you would fly to Japan. Concessive Clause A subordinate clause, the concessive clause is  used to contrast or justify the main idea of the sentence. It is typically set off by a subordinating conjunction. Example: Because we were shivering, I turned up the heat. Conditional Clause Conditional clauses  are easy to recognize because they usually begin with the word if. A type of adjectival clause, conditionals express a hypothesis or condition. Example: If we can reach Tulsa, we can stop driving for the night. Coordinate Clause Coordinate  clauses usually begin  with the conjunctions and or but and express relativity or relationship with the subject of the main clause. Example: Sheldon drinks coffee, but Ernestine prefers tea. Noun Clause As the name suggests, noun clauses  are a sort of dependent clause that functions as a noun in relation to the main clause. They are typically offset with that, which, or what. Example: What I believe is irrelevant to the conversation. Reporting Clause The reporting clause is more commonly known as attribution because it identifies who is speaking or the source of what is being said. They always follow the noun or noun clause. Example: Im going to the mall, shouted Jerry from the garage. Verbless Clause This kind of subordinate clause may not seem like one because it lacks a verb. Verbless clauses provide tangential information that informs  but is not directly modifying the main clause. Example: In the interest of brevity, I will keep this speech short.

Organisational Performance Research Proposal Example | Topics and Well Written Essays - 750 words

Organisational Performance - Research Proposal Example Additionally, Morris & Maisto (2005) suggest that fears over unemployment in volatile or unpredictable business environments is a source of extreme stress, often leading to alcohol-related diseases or cases of extreme moodiness both personally and professionally. When thoughts of potential job loss are somewhat irrational and are not based on tangible organisational evidence, it is the responsibility of the employer to build a sense of security for their employees to avoid extreme stress development. This is accomplished, according to Griffin & Moorhead (2006) by reinforcing that their position is stable and, if they remain productive and active contributors to organisational success, they will continue to be employed and valued for their successes. Again, in this scenario, it is the responsibility of the employer to take a proactive leadership approach to boosting employee perceptions regarding job security, perhaps by offering the employee an opportunity to complete a fast-track ma nagement programme to illustrate that the company truly values the relationship. Th There are a wide variety of theories regarding employee and employer relationships in the modern organisation and how to utilise positive reinforcement and motivational theories as a tool to sustain these relationships and boost worker performance. However, establishing security and a sense of appreciation (from a self-esteem development perspective) appear to be the primary catalysts for positive organisational performance as a company whole. When employees are content and secure, they are likely to be larger contributors to securing long-term strategic objectives. The proposed study design Upon project approval, this impending study on organisational performance seeks to answer two specific research questions: What are the most viable methods for employers to establish a sense of security in employees without being misleading' Can employers actually develop self-esteem in their employee population and how is this accomplished in hectic or otherwise difficult organisational environments' This proposed study will take a qualitative approach to research analysis, which Henslin (2003) suggests involves the who, why, and how of relationships, utilising subjective analyses to determine causal relationships between two or more members of the same organisation. The qualitative research approach was determined to be a more viable research strategy than the quantitative approach, which generally relies on statistical information or numerical representation, such as analysis of information laid out in a closed-ended questionnaire format. Because this study requires qualitative research approaches, the semi-structured interview was selected as the most viable research instrument in this proposed study. This

Essay of the laramie project Example | Topics and Well Written Essays - 1250 words

Of the laramie project - Essay Example The violent crime against Shepard has become a symbol of violence experienced by bisexual, lesbians, transgender and gay people. Two themes, hate the sin, but love the sinner and live and let live emerges in The Laramie Project. The research herein investigates the incidences and various problems that the gay individuals have undergone overtime. It intends discourage the act through the brutal and unfair acts for the realization of a peaceful society. However, in The Laramie Project, some residents of Laramie, Wyoming repeat two themes, â€Å"hate the sin, but show love to the sinner†, live, and let live. The repetition is because of the residents attitudes directed to gay residents. It is imperative to explore the two themes for examining their history and meaning with the current debate concerning the lifestyle of gay individuals in the United States. Let us begin with the theme, â€Å"hate the sin, but love the sinner†. â€Å"Hate the Sinful acts but Love the offender," it has always been mistaken as Jesus Christ saying it, but the fact is Mahatma Gandhi mentioned it several times. This phrase is what now people famously refer to â€Å"hate the sin, but love the sinner† and was quoted many times from Mahatma Gandhi autobiography. Some individuals point out to this theme to provide themselves unlimited permission, or even an obligation, to hate sin in other individuals. In The Laramie Project play, the Rev erend’s comment was saying indirectly that Matthew in his lifestyle â€Å"sinned† (Kaufman 27) by becoming a gay. The Reverend wrongly believed that Matthew hoped that when he was falling into a state of comatose, he was thinking about how he would change his gay sexual preference or attitude. In addition, the Reverends comment insinuated that Matthews sorry situation was because of the beating he received (Kaufman 65-66). In saying this, he wanted people in Laramie to understand that he loved