A Comparison of Productivity Software Applications

A Comparison of Productivity Software Applications Garnel Dahn Strayer University The software applications that are used to create documents, databases, presentations, and spreadsheets are called productivity software. Most people have had some experience with productivity software at home, school, or work. MS Office software reigns supreme in the industry. Microsoft Windows operating systems are used on over 80% of computers in homes, schools and offices. (Stricklan, 2008)However, just because it’s the most popular doesn’t mean it’s the right one for you. Fortunately, the options for productivity software are abundant. Let’s first talk about web browsers. More specifically, let’s talk about Mozilla Firefox, Google Chrome and how†¦show more content†¦It shares many of the same features as the most popular word processing software. You can install it on 100 computers if you like because it’s free. A spreadsheet is a table used to store and calculate different values. It is used to organize and analyze data. MS Excel is the front runner in spreadsheet software. OpenOffice.Org Calc is modeled after Excel so it has the same vibe. Some of the vocabulary is a little different than Excel. Being able to export documents as PDFs comes standard with Calc and of course the main advantage that Calc has is its free. (Darling, 2009) Planmaker spreadsheet software is compatible with MS Office. It is best known for making really attractive charts and graphs. (PlanMaker 2010 - TopTenREVIEWS, 2010) Even though it is set-up in the same way as Excel and Calc, it’s known for being easier to navigate through. It is for Linux, Windows and Windows CE. The price of Planmaker is 79.95$ and I think worth it. (SoftMaker : SoftMaker Office 2010 for Windows : PlanMaker, 2010) Presentation software is used to make presentations of slides that contain text, graphics, and also sound and visual effects. (google search, 2010) OpenOffice.org Impress is similar to PowerPoint and it is fully compatible with PowerPoint. It can edit and save files in different formats and you can export your projects to Shock Wave Flash player so it can be played on. 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Violence Theory And Gender Role Theory - 942 Words

The violence that surrounds homes can be summarized in the culture of violence theory and gender-role theory. The culture of violence theory looks at the broad acceptance of violence in our society and concludes that its acceptance is the foundation for violence within the family. Gender-role theory blames the traditional socialization of children into gender roles. Domestic violence plays a huge part in which parent will have custody of minor children. The culture of violence that is presented tries to understand why and how violence is committed in the family. The culture of violence theory looks away from the violence in the house hold. Violence inside our homes is not to be questioned outside of the home. Police involvement was not a primary concern when dealing with an in house altercation. Violence is still occurring and over the last century or so we have started to really analyze what is happening in homes. Parents have been known to watch sibling’s fights and just consider it bonding or children being children. These actions are encouraging children to fight amongst themselves. Words are not always enough to end arguments. Words should be all you need to end an argument one answer should be more logical than another or a compromise should be able to be made. When words fail which happens a lot of history as all of the wars are recalled. Violence somehow changes viewpoints you either kill your enemy or forced them into believing your view points.Show MoreRelatedEssay on Theories of Causation of Crime and Its Solution 1250 Words   |  5 Pageshistory of criminal theory, spiritual and natural theories are taken as major theories of causation of crime. During medieval period, spiritual explanations were taken as punishment given by god for doing wrong things and any natural disasters like flood, fires, etc were evaluated as curse of high power. 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Jan Steen Rhetoricians at the Window Example For Students

Jan Steen Rhetoricians at the Window Biography Jan Steen is recognized as one of the prominent artists of the Dutch Golden period right alongside Johannes Vermeer and Rembrandt van Rijn. However, Steen didnt get as much appreciation during his lifetime, leaving behind upwards of 500 unsold paintings when he died (Gold 213). He lived a modest life as an artist, supplementing his income over the years by opening a couple taverns and an inn. Daily life was Steens main pictorial theme and the tavern was a recurring setting for many scenes, especially during his period in Haarlem in the 1660s. His vivid portrayals of the Dutch social life were often humorous riddled with his own sort of moralizing, satirical comments he became recognized for. Steen has a real eye for comedy that deeply penetrated almost all of his paintings alas it was exactly this attention to humor that held him back from getting his foot in the fine art door. Vermeers poised stillness and Rembrandts dark, brooding imagery were praised as exemplars of Baroque style, making Steens artwork seem like a joke to some contemporaries. Gaining a posthumous reputation as Jan Steen, the good-for-nothing slackard , capable of nothing better than drinking and jesting, he became the unfortunate bearer of a crass and low-class reputation in the art world. Although Steen might have lived his days at the alehouse, eventually turning his own dwelling into a tavern, his lifestyle should not detract from his real merits. Invariably categorized as a genre painter, Steen is also a gifted history painter, creating scenes showing the recreations of the middle and lower classes (TEXT 731). Although portions of his work are indeed humorous, they usually convey a serious message as well. Steen was more than a free drinker but a free liver and a philosopher with a profoundly acute eye. Located at the Philadelphia Museum of Art, Jan Steens Rhetoricians at a Window (1658-65) is a 17th century Baroque oil painting, picturing four men hanging out the upstairs window of a Tavern. As the title supposes they are members of a chamber of rhetoric; a type of dramatic and literary society popular in Holland and public readings like the one taking place in Rhetoricians at a Window were commonplace. Steen portrayed many scenes from the lives of the Rederijkers and while its unknown if he himself belonged, the humanity, humour and optimism of the figures suggest that Jan Steen knew these men well, and wanted to portray them positively   (Gudlaugsson). The characters in this scene have a genuine living quality to them. It feels like a real moment Jan Steen witnessed, capturing and exaggerating all the subtleties of their personalities and expression in ruddy detail. The star figure of this composition is the group orator reading aloud from a paper titled; Lof Liet   or Song of Praise  . He hides the poem from us other than the title, making us wonder what the words of the poem are saying. Steen looked at the work of his peers for inspiration, and occasionally, he actually quoted their work directly on his own canvas or panel. (18) While its unclear if this is a direct reference to some other work, it could easily be a reference to Rembrandts Simeons Song of Praise (1631) which was a painting Jan Steen definitely knew of. We have to surmise our own interpretation of the poem is like by reading into the faces of the people who are hearing it. The paintings from this period are full of differentiations of character and expression in the figures. This, together with the profusion of detail, the multiplicity of incident, the frequent proverbial or literary basis, and an occasional theatrical element, requires them to be read  rather than simply experienced as a visual whole (Gowing Web). Although there are four main characters gathered around the open window, we can discern a total of six male figures. Steen wanted the orator to be the first person you see because in the painting he is the person you hear first. Vincent van GoghNotably, all three painting also features a coat of arms hanging below the window denoting a specific chamber of rhetoric. In all three paintings, the blazon is cropped by the composition cutting off its lower half. If you look at the series as a more of an artistic development working towards a stronger single image its easy to see that with each subsequent painting Steen is working towards a unique vision. The development from the initial composition, moving towards more dramatic expressions and finally an atheistic that successfully renders his humorous vision using an abundance of color. Rhetoricians at a Window features the strongest composition by far. Jan Steens dated paintings, when viewed in chronological order from 1650 to 1670, can provide a tentative timeline of his palette and any unique pigments in his palette during specific years. Jan Steen painted a variety of styles and his quality of work also varied throughout his career (Norbutus 55). This painting is one of Steens best, in its rich attention to detail, mastery of light, and elegant choice of colors. 7th century Dutch artists normally only had six or seven colors on their palette including white gradually darkening via red (vermillion), light ochre and a brownish-red towards two dark greens, browns or blacks (Norbutus 54). Steen was known for his distinctive handling of salmon-red, pale yellows, blue greens, and pinker colors (45). The size of this painting is relatively average at 29 7/8 x 23 1/16 inches (or 75. 9 x 58. 6 cm) but the scale of the composition envelops the viewer in this rather intima te scene as if they were participating in the scene. Bibliography: Gold, Sarah. Fodors Amsterdam. New York: Fodors Travel Publications, 2006. Print. Gudlaugsson, S. (1945). The Comedians in the work of Jan Steen and his Contemporaries, Janson, H. W., Penelope J. E. Davies, and H. W. Janson. Jansons History of Art: The Western Tradition. Upper Saddle River, NJ: Prentice Hall, 2011. Print. Norbutus, Amanda J. Technical Investigation of the Materials and Methods Utilized in a Copy of a 17th Century Dutch Genre Painting: Gerrit Dous Man Interrupted at His Writing (1635). N.p.: n.p., 2008. Print. Philadelphia Museum of Art Rhetoricians at a Window. Philadelphia Museum of Art Collections Object : Rhetoricians at a Window. PMA, n.d. Web. 24 Aug. 2014. Steen Jan (1626 1679) A Biographical Dictionary of Artists, Andromeda. Ed. Lawrence Gowing. London: Windmill Books (Andromeda International), 1995. Credo Reference. Web. 27 August 2014. Sutton, Peter C., and Marigene H. Butler. The Life and Art of Jan Steen. Philadelphia Museum of Art Bulletin 78.337 (1982): 1-63. Jstor. Web. 26 Aug. 2014.  . Walsh, John, and Jan Steen. Jan Steen: The Drawing Lesson. Los Angeles, CA: Getty Museum Studies on Art, 1996. Print.

Pope Point Evidence Explanation free essay sample

Jessie Pope creates an image of the war as a game in her poem. This is apparent in the first line, Whos for the game, the biggest thats played. In this line she is referring to the Great War as a game that is being played. This has the effect of toning down the severity of the War by implying that the War is merely a game and everyone should join in the fun. She is asking her readers if they would like to join and creates a sense of excitement and enthusiasm that would have the effect Of encouraging the men to sign up.The use Of the privative biggest implies that no other game can compare to this one and also emphasizes the grandeur and scale of it. It would also lead men to believe that everyone is playing in the game which would help to persuade them to be a part of it and ultimately sign up for the War. We will write a custom essay sample on Pope Point Evidence Explanation or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Pope persuades men to sign up by making it sound like its the many thing to do. She asks, (verse 1) In these lines she uses rugby vocabulary and pronouns to make the reader feel like popes use of rhetorical questions helps the target audience to engage with the poem and leads them to the decision she wants.Pope asks in verse 2 . The rhetorical question forces the reader to consider their own answer in their head, making them engage more meaningfully with the poem. The use of contrast here leads to audience to Pope uses a friendly, conversational tone in the poem to help persuade her audience.