staffing policies Essay -- essays research papers

CURRENT POLICIES AND PRACTICES In order to maintain a competitive edge and consistently reduce staffing issues, many companies have turned to alternative methods of staffing. As companies continue to ‘change with the times’, so do their staffing needs. Therefore, the traditional hiring of a full time employee is not the only option. Companies have turned to more effective ways of getting the job done. They are using outside sources to recruit employees. United Healthcares hiring practices will be utilized in this report to identify the ways in which a company fills its open positions. First there is the process of finding external candidates for a position. The company uses a variety of sources to recruit these candidates:  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Newspaper advertisements  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Employment Agencies  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Search firms  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Staffing agencies  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Internet  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Employee referrals  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Networking  ·Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  America's Job Bank On occasion Untied may have the need for a contracted or temporary employee. It is important that It is understood that, â€Å" contract services personnel, independent contractors, or vendors, are employees of companies under contract to United Health Group, not employees of United Health Group. The needs of the business may require that we use contract services personnel fo...

Views on the role of Nick as a narrator in the Great Gatsby have Essay

Views on the role of Nick as a narrator in the Great Gatsby have varied greatly. How do the views of Arthur Mizener and Gary J. Scrimgeour relate to your own view of Nick's function in the novel? Published in 1925, and written by F. Scott Fitzgerald, 'The Great Gatsby' is a brilliant and scathing illustration of life among the new rich during the 1920s; people who had recently amassed a great deal of wealth but had no corresponding social connections, or a sense of morality. Nick Carraway is the narrator of the novel; he rents a house on Long Island next door to Jay Gatsby, the title character. Gatsby is in love with Nick's cousin Daisy, who is married to an obnoxious man she does not really love, and he has no strong feelings towards her either. Her and his extramarital affairs are set against the background of the extravagant parties that Gatsby is famous for throwing, while Nick struggles to reconcile his attraction to a lavish lifestyle with his feeling that a moral grounding is missing. The writing style throughout 'The Great Gatsby' is terse and the book at times is depressing, with an overall message of hope and the American dream, discouraging. The story is told through the eyes of an active, biased, participant. Nick Carraway has a special place in this novel and has many functions. He is not just one character among several, it is through his eyes and ears that we form our opinions of the other characters. Nick is both within, yet outside the occurrence of events as he is friends with Gatsby and related to Daisy, but is still not involved fully in all that occurs, even though somebody else often tells him about it. Often, readers of this novel confuse Nick's stance towards those characters a... ...atsby is Nick's opinion. Gatsby's dream and the purity of his vision is the 'great' part, rather than the wealth. In one sense, the title of the novel is ironic; the title character is neither "great" nor named Gatsby. He is a criminal whose real name is James Gatz, and the life he has created for himself is an illusion. By the same token, the title of the novel refers to the theatrical skill with which Gatsby makes this illusion seem real. Fitzgerald has created a most interesting character in Nick because he is very much a fallible storyteller. When an author unsettles an accepted convention in the art of storytelling by creating a narrator like Nick, it draws attention to the story as fiction. Ironically, in doing this, he has created in Nick a figure that more closely resembles an average human being and thus has heightened the realism of the novel.

Ch 18

Chapter 18 Ethers & Epoxides; Thiols and Sulfides Assigned Reading from McMurry: Read Sections 18. 1 through 18. 9; not responsible for â€Å"Focus on †¦ Epoxy Resins & Adhesives, pp. 697-698). Recommended Problems from McMurry: 18. 1a-e;18. 18. 2;18. 3a-d; 18. 4; 18. 5a-d; 18. 6a-b; 18. 7a-b; 18. 8; 18. 9; 18. 10; 18. 11; 18. 12a,b; 18. 13a,b; 18. 14a-c; 18. 16a-f; 18. 17; 18. 18; 18. 19a-c; 18. 20; 18. 21; 18. 22; 18. 23a-e; 18. 24a-I; 18. 25a-f; 18. 26a-d; 18. 27; 18. 28; 18. 29ad; 18. 30a-e; 18. 31; 18. 32; 18. 33; 18. 34; 18. 35a-d; 18. 36; 18. 37; 18. 38; 18. 39; 18. 40a,b; 18. 41a-d; 18. 2; 18. 43; 18. 44; 18. 45; 18. 45; 18. 46; 18. 47; 18. 48; 18. 49; 18. 51; 18. 52; 18. 53; 18. 54; 18. 551-e; 18. 56; 18. 57; 18. 58a-b; 18. 59a-b; 18. 60; 18. 61. 18. 1 Names and Properties of Ethers Method A: Simple ethers; alphabetize if two organic substituents. CH3–CH2–O–CH2–CH3 Diethyl ether Methyl propyl ether O CH3–CH2–CH2–O œCH3 CH3 Methyl phenyl ether SP 18. 01 Provide systematic names for the following ethers. CH3–CH2–O–CH2–CH2–CH2–CH3 O SP 18. 02 Provide structures for the following systematic names. Systematic name: Isopropyl phenyl ether Systematic name: Cyclohexyl ethyl etherMethod B: Other functional groups present, ether component is an â€Å"alkoxy† substituent. Alkoxy examples: methoxy -OCH3, ethoxy -OCH2CH3, propoxy -OCH2CH2CH3, etc. O C H3 O CH3 O C H3 para-Dimethoxybenzene 3-Methoxy-1-cyclopentene SP 18. 03 Provide systematic names for the following complex ethers. OCH3 O CH2CH3 Cl SP 18. 04 Provide structures for the following systematic names. Systematic name: meta-Bromopropoxybenzene Systematic name: 1-Isopropoxycyclopentene 18. 2 Synthesis of Ethers The Williamson Ether Synthesis R + O an alkoxide C X R SN2 an alkyl halide methyl & 1o best; X = Cl, Br, I, OTos O C ether productExample: O Na + Sodium phenoxide CH3 Br O CH3 Phenyl methyl e ther (anisole) + Na Br + X SP 18. 05 Complete the following reactions. CH3 CH3 C O Na + CH3 I + Na I CH3 CH3 CH3 C CH3 I + Na O CH3 + Na I SP 18. 06 Provide the suitable alkoxide and alkyl halide necessary to produce 2-ethoxy-2-methyl butane in good yield. CH3 CH3 CH2 C O CH3 CH2 CH3 + Na Br 8. 4 Oxymercuration Intermediates †¢ For laboratory-scale hydration of an alkene †¢ †¢ Use mercuric acetate in THF followed by sodium borohydride Markovnikov orientation – via mercurinium ion Alkoxymercuration of Alkenes General Reaction: R C C 2) NaBH4 H C R EtherAlkene RO Step #1 RO C 1) Hg(OAc)2, ROH H g OA c C C Step #2 R + HOAc Markovnikov addition SP 18. 07 Complete the following reactions by displaying the final major organic product. H C 1) Hg(OAc)2, CH3OH H C 2) NaBH4 H CH3 CH3 C C H CH3 1) Hg(OAc)2, CH3OH 2) NaBH4 SP 18. 08 Specify the alkene and alcohol needed to produce the following ether. Alcohol OCH2CH3 1) Hg(OAc)2, CH3 2) NaBH4 Alkene 18. 3 Reactions of Ethe rs: Acidic Ether Cleavage General Reaction: HX C O C C OH + X C (strong acid) Ether Alcohol Alkyl halide SP 18. 09 Predict the product for the following ether-cleavage reaction. CH3 CH3 C O CH3 HBr CH2CH3 8. 4 Reactions of Ethers: Claisen Rearrangement O OH 1,3 O to C shift Thermodynamically more stable o 250 Allyl phenyl ether C9H10O ortho-Allyl phenol C9H10O Mechanism (involves six-membered transition state): 1 O TS 2 3 1 O 2 H keto-enol tautomerization 3 O H SP 18. 10 Predict the structure for the following Claisen rearrangement. O o 250 2-Butenyl phenyl ether C10H12O 18. 5 Cyclic Ethers: Epoxides (2 methods) General Reaction 1: O C C + R Alkene C O O O O C H A peracid C An epoxide R C O A carboxylic acid Specific Example 1: O Cl C O O H m-CPBA o H O O + CH2Cl2, 25 C H 1,2-Epoxycycloheptane Cl H C O H 18. Cyclic Ethers: Epoxides (2 methods) General Reaction 2: C OH X2, H2O C C C X A halohydrin Alkene O NaOH H2O C + H2O + NaX C An epoxide Review Section 7. 3 Specific Example 2: H CH3 C C H CH3 cis-2-Butene Br2 H2O H CH3 Br C OH C H CH3 NaOH H2O O HC CH3 C H + H2O + NaBr CH3 meso-2,3-Dimethyl-oxirane (or cis-2,3-epoxybutane) SP 18. 11 Fill in the appropriate intermediates showing the correct stereochemistry. H CH3 C C CH3 Br2 NaOH H H2O H2O trans-2-Butene + H2O + NaBr 18. 6 Reactions of Epoxides: Ring-Opening General epoxide structure: O C Since each atom is sp3 there is considerable angle strain in the epoxide ring-system.C Acidic Conditions: Epoxide opening under acidic conditions (aqueous acid) yields 1,2-diols General Reaction: H H O O C H C HO C H2O An epoxide C OH A 1,2-diol (glycol) H O C H C + O H H O C + C H O H H O H Specific Example (using symmetrical epoxide): H + H H3O OH H2O OH O H H trans-1,2-Cyclohexanediol SP 18. 12 Predict the correct structure of the product diol showing the correct stereochemistry. O H CH3 C C CH3 H trans-2,3-epoxybutane H3O+ H2O Note: Epoxide opening under anhydrous acidic conditions yields halohydrins. Specific Example ( 2 ° and 1 ° carbons): o 1 carbon o 2 carbon O CH3 H C C H H 1,2-EpoxypropaneOH HCl Et2O CH3 C Cl CH2 Cl + CH3 H 1-Chloro-2-propanol (90%) C CH2 OH H 2-Chloro-1-propanol (10%) SP 18. 13 Using the above model predict the major halohydrin. O H C H C HCl H Et2O O H C C H H HCl OH C Et2O H Cl CH2 Cl + C CH2 OH H Explanation: In cases where a 2 ° carbon and a 1 ° carbon form the epoxide ring, the major halohydrin product will be the one where the incipient alcohol is 2 ° and the halide is 1 °. Upon protonation of the epoxide oxygen the halide ion simple attacks the less-hindered 1 ° carbon with a greater frequency to give the major regioisomer. Specific Example (3 ° and 1 ° carbons): SP 18. 4 Using the above model predict the major halohydrin. Circle one. O C C H H HCl OH C Et2O + C H Cl Cl H C OH C H H Explanation: In cases where a 3 ° carbon and a 1 ° carbon form the epoxide ring, the major halohydrin product will be the one where the incipient alcohol is 1 ° and the halide is 3 °. Upon protonation of the epoxide oxygen the halogen attacks the more-stabilized (same as moresubstituted) carbon atom to give the major regioisomer described. Basic Conditions: Note: Nucleophile will always attack least-hindered position. Specific Example: o 3 carbon 1o carbon O CH3 CH3 C C H H OH NaOH H2O, ? CH3 C CH2 OH CH3 -Methyl-1,2-propanediol SP 18. 15 Predict the structure of the 1,2-diol from the following reaction. O C C H H NaOH H2O, ? Reaction with Grignard Reagents: O CH3 CH3 C C H H OH 1) CH3CH2MgBr, Et2O 2) (aq) NH4Cl CH3 C CH2 CH3 CH2 CH3 SP 18. 16 Predict the structure of the organic product from the following Grignardepoxide reaction. O H C C H H 1) CH3MgBr, Et2O 2) (aq) NH4Cl Reaction with a 1 ° amine: O H C OH CH2 H H2NCH2CH2CH3 C CH2 N CH2 CH2 H Reaction with a 2 ° amine: O H C OH H H3C CH2 + N H3C H C CH2 N CH3 CH3 CH3 SP 18. 17 Predict the structure of the epoxide and amine needed to generate the amino alcohol shown to the right.OH + C H3 C CH3 Epoxide Amine CH2 N H 18. 7 Crown Ethers †¢ Large rings consisting of repeating (-OCH2CH2-) or similar units †¢ Named as x-crown-y – x is the total number of atoms in the ring – y is the number of oxygen atoms – 18-crown-6 ether: 18-membered ring containing 6 oxygen atoms †¢ Central cavity is electronegative and attracts cations 18. 8 Thiols and Sulfides †¢ Thiols (RSH), are sulfur analogues of alcohols – Named with the suffix -thiol – SH group is called â€Å"mercapto group† (â€Å"capturer of mercury†) Thiols: Formation and Reaction †¢ From alkyl halides by displacement with a sulfur nucleophile such as –SH The alkylthiol product can undergo further reaction with the alkyl halide to give a symmetrical sulfide, giving a poorer yield of the thiol Sulfides †¢ Sulfides (RSR? ), are sulfur analogues of ethers – Named by rules used for ethers, with sulfide in place of ether for simple c ompounds and alkylthio in place of alkoxy Using Thiourea to Form Alkylthiols †¢ Thiols can undergo further reaction with the alkyl halide to give dialkyl sulfides †¢ For a pure alkylthiol use thiourea (NH2(C=S)NH2) as the nucleophile †¢ This gives an intermediate alkylisothiourea salt, which is hydrolyzed cleanly to the alkyl thiourea Oxidation of Thiols to Disulfides Reaction of an alkyl thiol (RSH) with bromine or iodine gives a disulfide (RSSR) †¢ The thiol is oxidized in the process and the halogen is reduced Sulfides †¢ Thiolates (RS? ) are formed by the reaction of a thiol with a base †¢ Thiolates react with primary or secondary alkyl halide to give sulfides (RSR’) †¢ Thiolates are excellent nucleophiles and react with many electrophiles Sulfides as Nucleophiles †¢ Sulfur compounds are more nucleophilic than their oxygen-compound analogues – 3p valence electrons (on S) are less tightly held than 2p electrons (on O) †¢ Sulfides react with primary alkyl halides (SN2) to give rialkylsulfonium salts (R3S+) Oxidation of Sulfides †¢ Sulfides are easily oxidized with H2O2 to the sulfoxide (R2SO) †¢ Oxidation of a sulfoxide with a peroxyacid yields a sulfone (R2SO2) †¢ Dimethyl sulfoxide (DMSO) is often used as a polar aprotic solvent 18. 9 Spectroscopy of Ethers †¢ Infrared: C–O single-bond stretching 1050 to 1150 cm? 1 overlaps many other absorptions. †¢ Proton NMR: H on a C next to ether O is shifted downfield to ? 3. 4 to ? 4. 5 – The 1H NMR spectrum of dipropyl ether shows this signal at ? 3. 4 – In epoxides, these H’s absorb at ? 2. 5 to ? 3. 5 in their 1H NMR spectra Carbon NMR: C’s in ethers exhibit a downfield shift to ? 50 to ? 80 Let’s Work a Problem When 2-methyl-2,5-pentanediol is treated with sulfuric acid, dehydration occurs and 2,2dimethyltetrahydrofuran is formed. Suggest a mechanism for this reaction. Which of the two ox ygen atoms is most likely to be eliminated and why? Answer First, there is protonation of the 3? –OH group, then a 3? carbocation is formed via loss of H2O. Then there is a nucleophilic attack of the carbocation by the 2nd –OH group. The 3? OH group is the one eliminated in all likelihood because its removal involves the formation of the more stable 3? carbocation.

Art & Literature Have No Place in the Modern World Essay

Creating and expressing ones’ self through various media, such as art and literature, has been a desire of mankind since the beginning of time. Art form and literature has been used to express mankind’s deepest observations, most profound thinking and firmest beliefs; it encompasses many genres such as paintings,drama, poetry and novels. While both the physical arts and literature are a form of self-expression, each also represents a profession. It enriches the necessary competencies that daily life requires and provides; and in this respect, it irrigates the deserts that our lives have already become. This adage is perhaps the most appropriate description of the importance of literature in our lives. As Amy Lowell quotes, ’Art is the desire of a man to express himself, to record the reactions of his personality to the world he lives in. ’ When we look around us, we see a lot of things that relate to art.. , contain art.. , are art.. and shows art.. Art is everywhere because people need to use it for daily uses. Art can come in the form of many things, including posters, murals, portraits, covers, paintings and more. This is enough to show how art and literature are blended into our lives. Music, paintings, sculptures, epics, fictions, movies, stories†¦Ã¢â‚¬ ¦. and so on and so forth are all a part of us. Is there a home in this modern world without a painting on the wall or a deck which doesn’t hum their favourite tune or a rack with Fredrick Forsyth or James Hadley Chase novels? Even a child of this generation has his ears plugged all the time either listening to a soulful raga or a foot tapping Michael Jackson and reading either a religious book or a comic or an encyclopedia†¦. this is the common usage of art and literature. Art can also be used to liven up things in this world. It may not have a specific idea or meaning but it can be used to make things look better and more complete. When you write a project, it looks dull just with words, but when you add a picture or two to it, it looks much better because now there is visual aid. Art is found everywhere, including parks, school, malls,homes†¦ and is used just to make the place more comfortable and appealing to the eye. It can sometimes act as filler because it looks better than to just leave something on its own. It is through reading great literary and poetic works, that one understands life. They help a person take a closer look at the different facets of life. In many ways, it can change one’s perspective towards life. Lives of brilliant achievers and individuals who have made a valuable contribution to society, are sketched in their biographies. These works give the readers an insight into the lives of these eminent people and sometimes help people change for the good. Friends, don’t you agree that Art and literature are great tools for learning. They can be found almost everywhere where there is a school. They are important because of what they can be used for. It is fun and acts as an interactive tool for learners who learn to appreciate art and literature for what it can do for them. In the process, people can learn a lot. Sometimes, art and writing go hand in hand. Art and literature serves as an enormous information base. Many people depend on art and literature. People who draw and write are not the only people who use and make money out of it. People who are book publishers, magazine editors, newspaper people, painters, actors all need to use art to supplement their work. Art and literature are used by some people directly andsome indirectly. People can choose to make a profession out of this because it is fun for them; it is something that they like to do, and more. Hence I strongly believe that we had art and literature in our blood since ages and is still used and appreciated by us in different forms in the modern world. There is not even a single person in this room who doesn’t love music or reading!

Peasants DBQ Essay

This revolt lasted from 1524 till 1526, it began in the German states, and the main reason for the revolt was new Lutheran ideas that were beginning to go against the traditional Catholicism ideas. Documents 1,4 and 5 give insight on the views those who were on the nobility side, Documents 2 and 3 give more specific details over the views of peasants and finally for Documents 7,8 and 12 explain how the mainly how the revolt didn’t have much meaning behind it. Documents 1, 4, and 5 explained the point of view of the nobility which mostly all of the nobility agreed it was negative. In Document 1the Chancellor of Bavaria wrote how he believed that the revolt was simply the belief of the time and that’s why so many peasants were following the same belief. Yet the chancellor doesn’t realize the side of the peasant who strive for a better life for themselves, they simply want to have more rights for the individuality. In document 4 it explains how they have not reach any religious achievements, so for their freedom they must give a large amount of money to buy their freedom. As for document 5 a pope explains how the peasants are more like salvages and act very ruthless during their revolt. All 3 of these documents are more than likely extremely biased since the nobility only wanted to better themselves and nobody else. Document 2 and 3 explained how the peasants felt during the revolt which they unlike the nobility believed their actions were going to a positive cause. In document 2 a local craftsperson explain how the lords been cruel to all peasants. He is stating the lords and nobles should offer payment for their services not simply force them to do task like slaves. This relates to Luther’s knowledge and ideas instead peasants apply it not only to the church but outside of the church. In document 3 they explain the wrong doing of the lord by controlling peasant, they continue into saying that the rulers set by god would be the only one peasants would follow, but that they should still be set free and not be under so many restrictions. Both sides will not be entirely correct since they both strive to better themselves,  which of course they would maintain bias to their sides. Documents 7, 8, and 12 explain the negative side of the revolt from a 3rd person point of view. Document 7 comes from Martin Luther saying how the revolt from the peasants contradicts what they said; he goes on explaining that their actions are under the devils order. Although the actions they may have taken wasn’t the best response they did fight for what they believed in and all throughout history this has occurred many times fighting for what you think is right. Document 8 explains how if they all are brothers then the rich should share their wealth with the peasants, yet many would have trouble with this, because the one person’s wealth is every wealthy person wealth. Document 12 explains how the peasants forgot their place in the revolt, how they do not have the power to de3ciede for themselves. It truly shows how the peasants have absolutely no word in their treatment.

Peer Event Management

Peer Events Management Head: Saadaan Peerzada Brief Introduction: A leading event management company of Pakistan, Peer Events Management has promoted the products of numerous top Multi-National Companies through non-media communication across Pakistan. Peer Events Management's creative approach is complemented by the largest inventory of sound and light equipment and trained personnel.We have solid experience in organizing diverse commercial events like product launches and re-launches, branded activities in schools, clubs, restaurants, road shows and in-house company programs. We at the Peer Events Management are confident of our capacity to create the extravaganza. We have the credentials to manage all aspects of creative conceptualization along with efficient execution and organization on mass-scale. Peer Events Management can offer you, the client, one project management team, one cohesive focus.We are unique in the industry since we can provide full event management services thr ough our extensive in-house capabilities and our proven network of strategic partners. From the development of initial logistical and creative requirements, through the actual production and management of events, we are the only partner you will need Peer Event Management utilizes state-of-the art equipment and techniques and its professionally staffed.Peer Events Management is Pakistan’s leader in specialist state, set, fabrication, product launches, road shows, concerts, fashion shows, annual conferences, Peer Event Management and creativity and innovation, deliver the talent and take care of the full production, from high tech sound and lighting systems to cleanup and gives a special blend of experience, technical expertise and creative energy. History: With over 25 years of experience in the art of science of building sets for touring road shows, cinema , television, music videos, mega events all over Pakistan.Our reputation as been earned by turning some of the most adve nturous stage set concepts into practical and economical realities. The diverse list of nation wide clients proves that there is an ever increasing motion control technology. Members: Salmaan Peerzada: Salmaan Peerzada studied History, Economics and Philosophy at the University of the Punjab and also appeared in some highly successful productions of the Government College Dramatic club. He directed plays and gained much distinction for his work which included â€Å"A Midsummer Nights Dream†, â€Å"Blood Wedding†, â€Å"Biography† and â€Å"Picnic†.He entered the film industry as a Camera Assistant, but then turned to acting. He went to England in 1964 and throughout the sixties and seventies he played a number of prominent roles in UK Films and television series and plays. Most notable amongst these were the popular TV series â€Å"Emergency Ward 10† and â€Å"Twisted Nerves†, a Boulting Brothers film in which he co-starred with Hailey Mills and â€Å"A Private Enterprise†, a highly successful feature film directed by Peter Smith in which Salmaan played the lead. On the death of his father he returned to Pakistan and founded the Rafi Peer Theatre Workshop in his memory.He directed several highly successful productions for the workshop including plays of Rafi Peer. He played the lead role in â€Å"Blood of Hussain† winner of the Prize of the Nations at Taormina, and shortly afterwards wrote and directed â€Å"Maila† for channel 4 television UK. He has just finished a major international feature film â€Å"Zargul† which he wrote and directed and which is now on international release. Producer Usmaan Peerzada: Executive ProducerUsmaan was a Student at Government College Lahore 1967 – 74, Secretary, Government College Dramatic Society, Master in English Literature.Awarded best actor of the year 1971 at the Najam-ud-Din Drama Festival, Kinnaird College, Lahore. Organized and acted in the U SIS Repertory Theatre Company, 1974. During the 1975-76, he played the lead in the 1st Pakistani English language film produced and directed by Senator Javaid Jabbar â€Å"Beyond the Last Mountain†. Starred in the 1st Pakistani co-production with Sri Lanka 1976-77 â€Å"Sazish†. Starred in a Sri Lanka/Italian/French co- production â€Å"Seeta Devi†, an international film and shot on location in Sri Lanka, Maldives and Australia.During the period 1977-79, he worked in Pakistan Film Industry as an actor. Usmaan is one of the top billing stars on Pakistan TV and is also a documentary filmmaker. He also worked on UNICEF projects in advisory capacity as a film journalist. In 1985, 1st Peer Films film â€Å"Nazdikian† was produced. â€Å" Nazdikian† was a new concept of low budget film in Pakistan. Film bagged over 17 awards and 4 national film awards including the Best Film of the year 1986. In 1989, he wrote, directed and produced a mega star Punjabi f ilm called â€Å"Gori Dyan Jhanjran† which did remarkable business on box office. Gori Dyan Jhanjaran† won 6 national awards given by the Government of Pakistan including the Best Film of the year 1990, which is an all time record in the history of the National Awards. Since 1990, he has been involved in creating a modern video/film studio with latest technology. He wrote, produced, directed and acted in one of the most commercially successful Tele-drama 13 part serial â€Å"SOFIA† for TV. In 1997 he directed â€Å"QARZ† which got 14 nominations for national film award. He is also involved in producing and directing 90 minute Tele-films. Imraan Peerzada:Imraan Peerzada is a graduate of the Punjab University and has studied design at National College of the Arts for 2 years. He was studied fashion and product photography at Parsons Schools of Art, New York (U. S. A). Imraan is presently doing his Masters in Cinematography and Video from U. C. L. A. , Califo rnia, U. S. A. He has also been very active on stage and produced, directed and acted in many plays during the period 1981-88. He has contributed as a writer by writing 25 plays for children which have been staged and also produced as television serials.Produced 25 audio cassettes of folk tales for children and has written columns for different newspapers on various subjects and also worked as photo journalist. Photographed covers and major fashion spreads for all leading Karachi magazines (1985-90). He is an Associate Member of the Multiracial Theatre in Washington D. C. He has worked extensively as an actor for televison, radio and stage and acted as the leading star in â€Å"ZARGUL† a Peer Films feature film. Imraan Peerzada is presently working on various stage projects and 90 minutes independent televison dramas.Saadaan Peerzada: Producer Puppeteer, Mime Artist, Producer, Executive Director of Peer Group, chairman of the International Puppet Festival Pakistan, Strategist in various Departments of the company i. e. Finance Management, Administration, Strategic Marketing and Human Resource Management Saadaan is the master-mind providing the structure on which dreams are woven. Currently he is involved in creating a private production of puppet programs for television. Other than his artistic prowess, Saadaan Peerzada is the driving force behind Rafi Peer Theatre Workshop.The success of Rafi Peer Theatre Workshop is to a large extent due to the business acumen, energy and foresight of Saadaan Peerzada who is its Executive Director. Saadaan Peerzada is also the founder/creator of the Puppet Theatre Division of Rafi Peer Theatre Workshop, which today has the distinction of being not only among the first but also the best of the puppet theatre groups in Pakistan. As a puppet manipulator par excellence and with much sensitivity Saadaan has played several dozen characters on stage with Rafi Peer Theatre Workshop. His main experience is in art developing pr ojects.Right from inception, he designs, organizes and structures. He has prepared several outstanding concepts and conducted them very successfully. He designed and performed in a solo Clown and Magic Show and toured with puppets all over Pakistan. This was over a period of several years and the show was very successful with more than two thousand productions. Faizaan Peerzada: Producer and director Born in Lahore, Pakistan, The son of Pakistan’s foremost playwright Rafi Peer, Faizaan began his career at Rafi Peer Theatre Workshop in 1977, which he now heads as its Artistic Director.He has experience in organizing cross-cultural events that the company has arranged with over a thousand different programs for children as well as adults all over the country. Some of these shows are pioneering efforts in the upcoming history of the performing arts in Pakistan. Faizaan Peerzada has worked with dedication for several years designing programs to develop children's minds by making them aware of the visual arts, as well as providing opportunities for them to participate in the performing arts.These programs include child art festivals, art workshops, and live art demonstrations with children. He specially designed programs to celebrate the International Year of the Child in 1979 spread over the entire year, including three major art festivals in which at least 35,000 children participated in a span of six months. Faizaan Peerzada is a puppeteer with distinction and has been awarded the President’s medal for the Pride of Performance. He has performed regularly in all the major towns of Pakistan and in many cities abroad.The puppets have also given a sense of achievement to Faizaan as an artist both for stage and television. He has created more than 2500 puppets for an assortment of puppet plays, and has produced over one hundred TV puppet shows as a director as well as the stage and puppet designer. He has also traveled internationally on over 7 major in ternational tours and festivals with various productions. Another major step in the development of the puppetry art form is the setting of the museum of puppets in Lahore, of which Faizaan is the Project Director. This museum will be the first of its kind across South Asia.Faizaan has been the integral driving force in creating fifteen International Festivals of Puppets, Theatre, Music, and Dance beginning in 1992. These Festivals have had participation from 56 countries, with over 3000 artists representing over 300 groups. The Fourth International Puppet Festival 1998 held in Lahore was declared internationally as the biggest international puppet festival in the world. He now heads The World Performing Arts Festival Pakistan with its latest session planned for October 2003. Faizaan has also been a founding member for UNIMA Pakistan.He is presently the president of UNIMA in Pakistan, which was setup on the 15th February, 1993 in PakistanIn 1976 he held his first painting exhibition at the American Cultural Centre, Karachi and then followed that with approximately forty painting exhibitions in Pakistan, and twenty six solo art exhibitions in the United States and Europe. He is a modern expressionistic painter who is presently dedicated to working with puppets and large faces. Faizaan’s fascination for lights over the last two decades has now given him the status of a household name as a lighting designer.He has designed stages and lights for several programs in Pakistan including festivals and several instillations for events abroad. Visual media has always fascinated Faizaan and this has resulted in ‘Laatoo’, his first documentary with co-director Alix Phillippon. The documentary covers all aspects and problems faced by dancers in Pakistan. It also looks at the popular forms of dance which are officially permitted by the Government; the Vulgar Dances in the movies, the Heera Mandi influence, and the commercial stage.In addition, it looks at how the true dance form has suffered and how the cheep commercial dance has mushroomed, eventually twisting the place of dance in our culture giving it its dire image and taboo status . It finally looks at the hypocrisy that has been forcefully imposed on the dancers and the public, making everyone lose. Film has now given Faizaan a new dimension to express himself and he intends to continue in it. Currently he is filming a project delineated into three major documentaries on the Sufi Shrines of Pakistan.The project takes an in depth look at, and analyzes, over 800 diverse shrines all across the country, while the individual films are separated into studies focusing on the Architectural, Spiritual, and the Poetic elements of the Shrines. Tasneem Peerzada: Executive Director Tasneem Peerzada has had a varied and diverse professional career –it spans the entire spectrum from beginning as a primary and secondary school teacher, to a journalist, a playwright, a lyricist, a press and public relations coordinator, and last, but not least, a poet.After her professional origins in the educational establishment, Tasneem moved onto a more potent public forum by joining â€Å"The Daily Jung† as a journalist. At this leading Urdu language newspaper she worked in both the capacities of an editor and a featured columnist, incorporating all forms of current social and political issues in her writing. She covered Television, Film, Theatre, and political personalities under human interest, reported on social and political dilemmas for awareness, and also covered fashion for the front pages of the media and entertainment sections.Tasneem later wove all these fundamental elements into a singular vocational focus when she joined the Rafi Peer Theatre Workshop as a company director. Here she wrote scripts for TV shows, awareness productions (whether on anti-narcotics or children’s education), theatre skits, as well as lyrics and songs for product anthems, cor porate launches, and Television jingles. She also became an ardent media and press coordinator for the Peer Group and its sister companies as well as a director in the companies numerous internationally acclaimed national and international performing arts festivals.Currently Tasneem Peerzada is working on her first novel and a poetry publication slated to be published soon. The services: Peer event management utilizes state-of-the-art equipment and techniques and it’s professionally staffed. Peer events management is Pakistan’s leader in specialist state, set, fabrication, product launched, road shows, concerts, fashion show, annual conferences, Peer Event Management and creativity and innovation, deliver the talent and take care of the full production, from high tech sound and lighting systems to cleanup and gives a special blend of experience, technical expertise and creative energy.

Children learn Essay

The Guidance for the Foundation Stage Curriculum (2001) suggests that an appropriate curriculum for young children is a play-based curriculum, offering children a choice of play based activities and experiences. Siraj-Blatchford and Clarke (2000) agree that play has been well documented as a means by which young children learn.  Ã¢â‚¬Å"Play is highly valued in the Early Years for its ability to stimulate and integrate a wide range of children’s intellectual, physical, cultural, social and creative abilities.† (Siraj-Blatchford and Clarke 2000, p.76) However, unstructured play, in its’ purest sense, may cause a number of problems when providing suitable provision for children demonstrating hyperactive, impulsive or inattentive behaviour due to lack of structure and continual distraction. Kewley (1999,p.151) would agree when stating,  Ã¢â‚¬  Unstructured situations such as playtime often cause problems for children with ADHD†¦because of the over-reaction to the stimulus and their impulsive behaviour.† Ballard (1997) defines an inclusive setting as one where â€Å"differentness† is an ordinary part of human experience. Indeed, differentiation is the key to effective teaching and learning. However, problems arise when the whole structure of the curriculum is inappropriate for the needs of a particular child. Cooper (1999) would agree that it is invaluable for the practitioner to be aware of the specific circumstances in which individual children perform best in order to plan for the learning needs of these children and suggests that some aspects of an Early Years curriculum may aggravate symptoms of ADHD when stating, â€Å"Children with ADHD can become overwhelmed by the massive over stimulation they experience in a group situation and through free-play activity.† (Cooper 1999, p.144)  In addition,  Barrow (in: Merton 1998) and Toothhill and Spalding (in: Sefton 2000) also found that children with ADHD responded better in highly structured lessons than less organised ones.  Ã¢â‚¬Å"Children with ADHD are often hypersensitive to distraction. It is important, therefore, to ensure that they are seated in a place that is relatively free from distraction.† (Cooper 1999, p.146) Thus, making the task of suitable inclusive provision difficult for practitioners in Early Years settings. However, many opportunities for structured, adult-directed play do exist within the Early Years. (Siraj-Blatchford and Clarke 2000) Games such as those with rules, card games, matching games, and outdoor games with balls all provide opportunities for adult-directed play and provide the child with instructions and guidance for playing the game, rules of turn taking and developing new information. In addition a play-based curriculum offers opportunities for high levels of adult support and encouragement and a kinaesthetic based approach to learning, which is a preferred style of learning for many children with ADHD. Kewley (1999,p.146) concurs, stating, â€Å"Children with ADHD tend to be intuitive and need a practical approach to learning rather than a highly theoretical approach.†Ã‚  Research suggests however, that a high number of children with ADHD are not acknowledged as having SEN and instead their inappropriate behaviour highlighted as unsuitable candidates for mainstream settings. Hayden (1997) suggests that this attitude does not improve as the children enter formal education. Hayden researched children who had been excluded from primary school and found that children with ADHD are more likely that most to be excluded from school for behavioural reasons. This does appear at first glance to be surprising, when considering the evidence to suggest that a structured environment is more appropriate for a child with ADHD. Cooper (2005) offers an explanation for this however, and suggests that when considering the constructions of ADHD that, it is influenced by both biology and the social environment. Cooper infers that â€Å"school† plays a major part in the process of social constructions and indicates that children with ADHD are expected to conform to an unsuitable and ridged social framework and inappropriate curriculum when stating, â€Å"Pupils from an early age are expected to internalise and behave in accordance with a set of rules that derive from constraints imposed by a teacher-centred, curriculum-focused method of teaching pupils in age related groups.† (Cooper 2005,p.128)  Cooper also suggests that inappropriate teacher/child ratios may create social disorder problems that are met by a set of lineal rules, designed to regulate peer interaction and movement around school. Concluding that the majority of problems arise from an externally imposed age determined curricula as apposed to a negotiated curriculum. These findings are alarming when considering recent developments, legislation and guidance relating to children with SEN and may indicate that the behaviour aspect of children with ADHD is being used as a scapegoat strategy for settings who are not meeting the needs of these children.  When examining the issues surrounding ADHD it is clear that successful inclusion both in the Early Years and Primary school settings is problematic. On the one hand a play-based curriculum is the most suitable form of learning for the majority of young children and is endorsed in Early Years Settings, whilst on the other the symptoms that children with ADHD display suggest that such a curriculum would exasperate these symptoms. However, as previously discussed, some aspects of a play-based curriculum are preferable to the more formal approach of primary school. The PLA (2001) suggest once children have been admitted to the setting, an environment that is created should be one that encourages all children to flourish. Furthermore, Kewley (2001, p6) states the inclusion of children with ADHD is a â€Å"moral imperative†, however, Farrell and Polat (2003) argue that the inclusion of children with EBD has the potential to cause barriers to the government implementation of their policy of social inclusion. This would suggest that although differing levels of ability can be quiet easily catered for, behavioural and emotional differences are not as easily accommodated in educational settings. Visser and Stokes (2003) found that many people agreed with the inclusion of children with SEN, however when it came to children with EBD they were often denied inclusion due to their SEN. This supports the research undertaken by Hayden (mentioned previously) that children with ADHD are excluded from primary school due to behavioural reasons. The DfES (2006, p.1) suggest that children with ADHD can have an overwhelming affect in the setting when stating, â€Å"pupils with ADHD present challenges for teachers, both in effective behaviour management and in keeping them focused on the task in hand.† [online]  Teachers may feel threatened by having to deal with a child with ADHD, particularly if they have no training in the area and lack confidence, in addition to having to give instruction to a further 30 children or more. The parents of other children may feel that the attention has been drawn away from their children as more time needs to be spent dealing with disruptive outbursts and one to one tuition. All these factors effect the successful inclusion of children with ADHD. Swinson, Wolf and Meling however, disagree that these children’s needs would be addressed more effectively in special schools and conclude that there is much evidence of mainstream schools successfully including children with EBD and there was no evidence to suggest children with EBD benefit from special school. Rose (2002) found that teachers felt they could successfully include children with EBD, but only with additional classroom support. This may suggest a lack of confidence in their ability to meet the needs of children with ADHD in their care. Swinson, Wolf and Meling (2002) suggest that this view is not uncommon, they found that many teachers felt they were not sufficiently trained to meet the needs of inclusion. Another reason that teachers insist on additional classroom support may be due to the time and attention children with ADHD need. Newelle (2001) agree that children with EBD take up a lot of time and resources. All of the barriers above are not isolated to ADHD or indeed EBD they are general inclusion issues that have been successfully addressed throughout a majority of mainstream settings, particularly Early years settings. Albeit ADHD may manifest itself in differing ways and appear to centre around continuous, disruptive behaviour, for some leading to exclusion, however, all children with SEN should have their needs met and advice given by the DfES (2000) should apply to all children when stating,  Ã¢â‚¬Å"Children with special educational needs all have learning difficulties that make it harder for them to learn than most children at the same age. These children may need extra or different help from that given to children of the same age† [online] According to the National Institute of Mental Health (NIMH) [online], ADHD can have long term effects on the child’s ability to make friends and over time these children may develop emotional problems such as poor self-esteem and depression if the child’s needs are not met. McEwan (1998) identifies emotional reactivity and conduct problems, which include symptoms such as a shot fuse due to getting easily frustrated, overreacting to things that happen, defiant behaviour, verbal hostility and angry outbursts. Fletcher-Campbell (2001) looks at the problems of children with EBD and suggests that these children alienate themselves from their peers, due to their behaviour. Thus, â€Å"Some manifestations of the disorder tend to isolate children with ADHD from their peers, who will sometimes react with hostility to impulsive and hyperactive behaviour. This can result in long term difficulties in relation to other individuals and developing and sustaining relationships – and the emotional problems that follow often exacerbate the struggle to learn.† (Question Publishing 2003) [online] Effects of inattention and impulsivity causes children problems with turn taking and this suggests they often interrupt when others are talking or playing. (Cooper and O’Regan (2001) In addition McEwan (1998) argues that children with ADHD can often be selfish and self-centred, which means they are likely to find it hard to make friends and build relationships. They are often unaware of social cues and do not worry about the consequences of their behaviour.