...W RITING E FFECTIVE U SE C ASES Alistair Cockburn Humans and Technology pre-publication draft #3, edit date: 2000.02.21 published by Addison-Wesley, c. 2001. i ii Reminders Write something readable. Casual,readable use cases are still useful, whereas unreadable use cases won't get read. Work breadth-first, from lower precision to higher precision. Precision Level 1: Primary actor’ name and goal s Precision Level 2: The use case brief, or the main success scenario Precision Level 3: The extension conditions Precision Level 4: The extension handling steps For each step: Show a goal succeeding. Highlight the actor's intention, not the user interface details. Have an actor pass information, validate a condition, or update state. Write between-step commentary to indicate step sequencing (or lack of). Ask ’ why’ to find a next-higher level goal. For data descriptions: Only put precision level 1 into the use case text. Precision Level 1: Data nickname Precision Level 2: Data fields associated with the nickname Precision Level 3: Field types, lengths and validations Icons Design Scope Organization (black-box) Organization (white-box) System (black box) System (white box) Component Goal Level 1 Very high summary Summary User-goal Subfunction too low For Goal Level, alternatively, append one of these characters to the use case name: Append "+" to summary use case names . Append "!" or nothing to user-goal use case names. Append "-" to subfunction use case names. The Writing...
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...In the contemporary century where the world is metamorphosed to a global village, the concept of national culture and national literature is certainly belied. The World literature, today, simultaneously represents an important multicultural perspective within individual national literatures as well as more global perspective taking in the phenomena of transculturalism and diaspora confluence. Centripetal and centrifugal forces can be discerned as both antagonistic and complementary forces in cultural development. Raymond Williams develops a theory of relation between culture at large and cultural products like literature. Culture is manifested in human artifacts and activities such as music, literature, life-style, food, painting, sculpture, theatre and film. It can be said that arts and the world of science with their moral systems come to form culture. These are constantly in a spatio-temporal flux that renders an inexhaustible range of meanings and a catalogue of the elements. In this process of evolution a particular aspect dominates or fades off at some space-time coordinate. The pattern of human activity and the symbolic structures give such activities significance and importance. Rushdie, like other postcolonial writers not only reflects upon the political aspects of history but also deconstructs the interrelationships between history and individual to delve into the moral and psychological tensions of the native homeland. His novels are the fine example where ethics of...
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...What teachers want parents to understand Ron Clark, an award winning teacher from Atlanta, has a few things to say to parents about how they can help, rather than hinder, their kids’ teachers. He starts off with an anecdote about a great principal who resigned because of burnout, not from dealing with unreasonable students, but from dealing with unreasonable parents. This problem, Clark says, is pervasive among teachers and administrators and something needs to be done to stop the talent drain before the pool of passionate educators runs dry. Here are some of the basic things he wants parents would understand: Teachers are professional educators, not babysitters: If they offer advice, take it into consideration rather than getting defensive. Trust the teacher’s word. Stop making excuses for your kids. It’s not the end of the world if your kid gets in trouble, or even fails: Kids need to learn about consequences. Meeting with a teacher to fight a bad grade undermines this lesson. Good grades don’t necessarily mean good teachers: It’s often the best teachers who expect the most from your kid. Instead of mindlessly bad-mouthing the teacher in front of other parents or, most of all, your kids, take the time to find out what’s going on. Having taught high school, for a millisecond, I can relate to most of Clark’s advice. Most, that is, but certainly not all of it. The article does come off, in places, as if the teacher is always right. But I do believe there is an us-against-them...
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...Quick List of Common Literary Terms Abstract Language—Language describing ideas and qualities rather than observable or specific things, people, or places. The observable or "physical" is usually described in concrete language. Allegory—A narrative or description having a second meaning beneath the surface one. A story, fictional or nonfictional, in which characters, things, and events represent qualities or concepts. The interaction of these characters, things, events is meant to reveal an abstraction or a truth. These characters, etc. may be symbolic of the ideas referred to. Alliteration—The repetition at close intervals of initial identical consonant sounds. Allusion—An indirect reference to something (usually a literary text) with which the reader is expected to be familiar. Allusions are usually literary, historical, Biblical, or mythological. Ambiguity—An event or situation that may be interpreted in more than one way. Also, the manner of expression of such an event or situation may be ambiguous. Artful language may be ambiguous. Unintentional ambiguity is usually vagueness. Anachronism—Assignment of something to a time when it was not in existence, e.g., the watch Merlyn wore in The Once and Future King. Analogy—An analogy is a comparison to a directly parallel case. When a writer uses an analogy, he or she argues that a claim reasonable for one case is reasonable for the analogous case. Anecdote—A brief recounting of a relevant episode. Anecdotes are...
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...community in which the text is set. The characters who are referred to as Outsiders can be portrayed in different ways; their initial exclusion from society can ultimately lead to a narrative of their acquisition of power throughout the text but similarly, can portray a story of their maintenance of the minimal power they have over the course of the text’s plot. However, this is not to argue that some Outsiders presented within literature do not have power over the course of the development of the text so, as a consequence, remain excluded from the society. In this case, the text would then be considered an exposition of the character’s experience from their position in society rather than the author’s attempt of trying to integrate their character into society through their work. Furthermore, the author themselves may be considered an Outsider through their own status in society; they command their readers to be Outsiders themselves within the novel. As well as to read and observe the narrative in order to emulate the same feeling within themselves, within the reader or to have a specific impact on the issues surrounding humanity at the time. The contrast in the ways in which the portrayal of an Outsider can develop arose within the study of Charlotte Bronte’s Jane Eyre and Jean Rhys’ Wide Sargasso Sea as the novels highlighted the different facets of characters that are regarded to as outsiders. Throughout my exploration of this subject, I was exposed to a number of different works...
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...In true Bishop style to derive order from disorder, she does so within the poem’s structure. “First Death in Nova Scotia” is a five-stanza poem wherein each stanza contains 10 lines. The stanzas appear short and compact, where the number ten could be associated with any number of things. Age ten is often the age that begins to blur the line between freewheeling childhood imagination and adult reality, where death begins to stew in the young mind as a formal concept. Moreover, age ten sets the tone and age for the narrator and Arthur. If these lines were any longer, it would be uncharacteristic of the individuals that are featured. Ten also represents a simple base value for the surrounding world. Children first learn to count on their fingers...
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...Arts and the Education of Artists: Art and Story CONTENTS SECTION ONE: Marcel’s Studio Visit with Elstir……………………………………………………….. David Carrier SECTION TWO: Film and Video Narrative Brief Narrative on Film-The Case of John Updike……………………………………. Thomas P. Adler With a Pen of Light …………………………………………………………………… Michael Fink Media and the Message: Does Media Shape or Serve the Story: Visual Storytelling and New Media ……………………………………………………. June Bisantz Evans Visual Literacy: The Language of Cultural Signifiers…………………………………. Tammy Knipp SECTION THREE: Narrative and Fine Art Beyond Illustration: Visual Narrative Strategies in Picasso’s Celestina Prints………… Susan J. Baker and William Novak Narrative, Allegory, and Commentary in Emil Nolde’s Legend: St. Mary of Egypt…… William B. Sieger A Narrative of Belonging: The Art of Beauford Delaney and Glenn Ligon…………… Catherine St. John Art and Narrative Under the Third Reich ……………………………………………… Ashley Labrie 28 15 1 22 25 27 36 43 51 Hopper Stories in an Imaginary Museum……………………………………………. Joseph Stanton SECTION FOUR: Photography and Narrative Black & White: Two Worlds/Two Distinct Stories……………………………………….. Elaine A. King Relinquishing His Own Story: Abandonment and Appropriation in the Edward Weston Narrative………………………………………………………………………….. David Peeler Narrative Stretegies in the Worlds of Jean Le Gac and Sophe Calle…………………….. Stefanie Rentsch SECTION FIVE: Memory Does The History of Western Art Tell a Grand Story?……………………………………...
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...enthusiastic reviews from critics and readers all over the world, nominating him the unofficial title of ―American Tolkien‖ [9]. In 2007 Martin agreed to collaborate with cable network HBO‘s writer-producers David Banioff and Daniel B. Weiss on the adaptation of his epic novel series to TV under the name Game of Thrones (GoT) [14]. Its narrative features the medieval fantasy world of Westeros, in which five noble families struggle to seize the all governing Iron Throne, and, with a complete broadcast of three seasons, the result has led TV critics to hail the show as one of the pinnacles of quality television narrative [21]. The show has also obtained an exceptionally broad and international fandom. The series has won numerous awards and nominations. It is the most recent big-budget media franchise to have contributed to the popularity of epic fantasy genre in mainstream TV. This essay will analyze the transmedia storytelling strategies applied to promote the TV series Game of Thrones. Transmedia storytelling is understood as a story told throughout numerous media platforms, with special content pointing back to the main narrative, working as a potential new audience entry-point. ―In which way transmedia storytelling is involved in Game of Thrones commercial success?‖ is the research question proposed. To answer this question, I intend to refer to the concepts of paratexts in relation to core text, as it is essential for transmedia storytelling. It is worth mentioning...
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...Reading the Novel in English 1950–2000 i RTNA01 1 13/6/05, 5:28 PM READING THE NOVEL General Editor: Daniel R. Schwarz The aim of this series is to provide practical introductions to reading the novel in both the British and Irish, and the American traditions. Published Reading the Modern British and Irish Novel 1890–1930 Reading the Novel in English 1950–2000 Daniel R. Schwarz Brian W. Shaffer Forthcoming Reading the Eighteenth-Century Novel Paula R. Backscheider Reading the Nineteenth-Century Novel Harry E. Shaw and Alison Case Reading the American Novel 1780–1865 Shirley Samuels Reading the American Novel 1865–1914 G. R. Thompson Reading the Twentieth-Century American Novel James Phelan ii RTNA01 2 13/6/05, 5:28 PM Reading the Novel in English 1950–2000 Brian W. Shaffer iii RTNA01 3 13/6/05, 5:28 PM © 2006 by Brian W. Shaffer BLACKWELL PUBLISHING 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Brian W. Shaffer to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and...
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...LOGISTICS INC. ESTABLISHING THIRD-PARTY (3PL) LOGISTICS SERVICES ‘’We declare that the material contained in this project is the end result of our own work and that due acknowledgement has been given in the bibliography to ALL sources, be they printed, electronic or personal. ‘’ Contents Introduction 2 Overview of the organisation 3 CLI’s 3PL service provision objectives 4 Main issues raised 5 1. The need for an effective and successful sales pitch 5 3. High spot-rate cost of boat leasing 6 4. Delivery route and shore base operating costs 6 5. Resource requirements for 3PL service 6 6. Establishment of a trusting and reliable partnership 7 Approaches to issues raised 8 1. “AS IS” process documentation and operation analysis 8 2. The Morgan City Benchmark Study 8 3. Cost comparison and utilization of long-term vs. spot-rate leases 9 4. 2 months, 24 hours activity log book 9 5. Drawing of support and expertise 9 6. Information sharing and in-depth study of operational and cost data .…………………………….………………………………………………….………………….…………….…………..10 Effectiveness of approach adopted 10 Recommendations 13 1. Provision of a consolidated logistics service 13 2. Delivery route and shore base operation costs 13 3. Establishment of a trusting, reliable partnership 14 4. Customer Service Audit 15 References 19 Introduction With increasing global competition and the streamlining of the supply chain management functions of businesses, organizations now outsource...
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...the community, its his greatest desire. With Victor, on the other hand, there seems to be a gulf between him and the rest of society. * Justine’s trial testifies to the inhumanity of man. What is important to note is the way this links in to a vital theme of the novel, which is the presentation of the creature himself. He starts off innocent and wanting a relationship with his maker. It is the way that he is shunned by his maker and by humanity and treated cruelly that forces him into cruelty, but this cruelty is only paralleled by the monstrous nature of humanity as displayed in incidents such as the trial of Justine. We cannot expect the creature to be good when he has no model of goodness on which he can base his behaviour. * Frankenstein's lack of personal responsibility lead to tragedy? 1. Victor's decision to make the monster and then doing nothing to take care of him demonstrates his selfishness and unwillingness to accept that what he does has consequences not just for him but also for many others. He creates the monster to bring himself...
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...× News Social Justice LGBT Rights Education Features Environment Climate Change Wildlife Oceans Food Farming Cooking Restaurants Animals Jane Says Culture Entertainment Health Lifestyle World Aid & Development Innovation Global Health Business Insights Innovation & Tech Green Entrepreneurs Restaurants Take Action Featured Actions Petitions Pledges Film & TV Actions Track Your Impact TakePart is the digital news and lifestyle magazine from Participant Media, the company behind such acclaimed documentaries as CITIZENFOUR, An Inconvenient Truth and Food, Inc. and feature films including Lincoln and Spotlight. FOLLOW US Takepart Share Facebook Twitter Email App Google +1 Tumblr Your Reach Take Action A U.S. Special Forces service member and a soldier with the Uganda People's Defence Force search the area near Pambayamba, in the Central African Republic, for indicted war criminal Joseph Kony...
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...imagery of “Summer is fading”, he gives the impression that the life of the people he’s observing is digressing from their youth to middle age. He focuses on the youth of the parents being replaced by their children “but the lovers are all in school”. There seems to be this idea that history is repeating itself from parent to child, almost as though their children simply act as a reminder to the aging adult that their life is passing. Larkin concentrates on his belief of marriage being unfulfilling, “hollows” of “afternoons” where Afternoons represents the decent into middle age, and how Larkin’s confidence in the unfulfilling and unhappy life which comes with marriage and having a family. He reassures the idea of routine and order being at the base of unhappiness in this poem as he uses...
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...Literary Theory and Schools of Criticism Introduction A very basic way of thinking about literary theory is that these ideas act as different lenses critics use to view and talk about art, literature, and even culture. These different lenses allow critics to consider works of art based on certain assumptions within that school of theory. The different lenses also allow critics to focus on particular aspects of a work they consider important. For example, if a critic is working with certain Marxist theories, s/he might focus on how the characters in a story interact based on their economic situation. If a critic is working with post-colonial theories, s/he might consider the same story but look at how characters from colonial powers (Britain, France, and even America) treat characters from, say, Africa or the Caribbean. Hopefully, after reading through and working with the resources in this area of the OWL, literary theory will become a little easier to understand and use. Disclaimer Please note that the schools of literary criticism and their explanations included here are by no means the only ways of distinguishing these separate areas of theory. Indeed, many critics use tools from two or more schools in their work. Some would define differently or greatly expand the (very) general statements given here. Our explanations are meant only as starting places for your own investigation into literary theory. We encourage you to use the list of scholars and works provided for each...
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...ACKNOWLEDGEMENT First and foremost, I would like to thank God for his infinite love and guidance throughout my practicum. For giving me the strength and knowledge so I have completed my practicum hours. To Pearl Farm for the support and permission to render my On-the-job training to their Luxurious Beach Resort. And to all staff of Pearl Farm who had played a major part in the acquisition of my training, for imparting their skills, knowledge, and for treating me not as an employee but as a part of their family. A word of appreciation to Mr, Ronnie Mark Batoon our Academic Head at STI Tagum Campus, for the knowledge, support, and for those inspirational words that they had shared with us especially to our Food and beverage servicing and production instructor Sir Jerwin Luisen and Mam Jeanette Rabia. And also of course Mr, Nebur L. Go who extend his arms to develop my skills and interest. Thank you for believing in my skills and capabilities. Especially to my very loving Classmates who’s now I considered as my family who had been a big part of this endeavor, for giving me the courage to do what I need to. For all the hardships, patience, love and support on my everyday decisions. You guys raise me up from getting drown, lifted me to see what’s really below, waken me up what is the right thing what to do. Thank you for always being there for me. And also for my family for the expenses. To my co-trainees for helping me face this challenge. For giving me the knowledge...
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