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ECONOMICS MAKING 米国assignment范文

本文由Bonrun提供的assignment代写,学生为米国经济类专业学生!


MAKING APPLICATIONS ASSIGNMENT 

65% of overall module mark 
Deadline Information 
Time:    5.00 pm 
Date:    Thurs 16 December (Week 12) 
Submission:  through Turnitin via Blackboard 
Assignment Brief 
The purpose of this assessment is to evaluate how effectively you can: 
  Identify the strengths and weaknesses of a CV and covering letter  
  Write an effective personal statement as part of an application for a particular 
opportunity 
  Answer a competency based question as used in both application forms and 
interviews 
  Understand and prepare for interview questions 
Your Task 
You are required to answer the questions on the Making Applications worksheet, 
which can be downloaded from Blackboard. Failure to use this specific worksheet 
will result in your work receiving 0 (zero) marks. 
The questions are outlined below with suggested ways of preparing to answer 
them: 
Question 1. Evaluate a Cover Letter. 
Briefly explain the strengths and weaknesses of the Covering Letter as part of 
the CV and Covering Letter application package for the Investment Analyst 
Internship with Commerzbank.  Structure your explanation under the following 
categories: 
  Presentation and structure 
  Relevance of information 
  Quality of evidence 
  Written expression 
The following activity may help you to answer this question: 
  Research the role of an Investment Analyst by studying the relevant 
occupational profile on the Prospects website 
  Study the job specification for the Investment Analyst Internship at 
Commerzbank listed in the module handbook 
  Study the CV and Covering Letter contained in the module handbook 
 Question 2. Evaluate a CV 
Briefly explain the strengths and weaknesses of the CV as part of the CV and 
Covering Letter application package for the Investment Analyst Internship with 
Commerzbank.  Structure your explanation under the following categories: 
  Presentation and structure 
  Relevance of information 
  Quality of evidence 
  Written expression 
The following activity may help you to answer this question: 
  Research the role of an Investment Analyst by studying the relevant 
occupational profile on the Prospects website 
  Study the job specification for the Investment Analyst Internship at 
Commerzbank listed in the module handbook 
  Study the CV and Covering Letter contained in the module handbook 65%的整体模块标记
截止信息
时间:5.00分
日期:周四12月16日(第12周)
投稿方式:通过Turnitin的通过黑板
分配简介
本次评估的目的,是如何有效地评估您可以:
确定的长处和短处的简历和求职信
写一个特定的应用程序的一部分,有效的个人陈述
机会
基于能力的问题回答中所使用的两种应用形式,
采访
了解和准备面试问题
你的任务
应用工作表上,您需要回答的问题,
可以从Blackboard下载。如果使用这个特定的工作表
会导致你的工作接收0 (零)标志。
建议如何准备回答的问题概括如下
他们说:
问题1 。评估求职信。
简要解释的长处和短处的一部分的求职信
投资分析师的简历和求职信的应用程序包
与商业银行的实习。在以下结构的解释
类别:
演示和结构
相关信息
证据质量
书面表达
以下活动可能会帮你回答这个问题:
研究的投资分析师的作用,通过学习有关
职业概况展望网站
研究投资分析师实习工作规范
德国商业银行上市的模块手册
研究的简历和求职信中包含的模块手册
 问题2 。评估一份简历
先简单介绍一下简历的长处和短处作为简历的一部分,
投资分析师实习与求职信的应用程序包
德国商业银行。结构解释以下类别:
演示和结构
相关信息
证据质量
书面表达
以下活动可能会帮你回答这个问题:
研究的投资分析师的作用,通过学习有关
职业概况展望网站
研究投资分析师实习工作规范
德国商业银行上市的模块手册
研究的简历和求职信中包含的模块手册

Black Artists and Race assignment范文

Black Art Work

To begin with I would like to say that my essay is based on Black Art Work. Many people today would like to forget what happens at the beginning of 1980s and what it is the exact meaning of ‘Black Art’. Because they want to work with it and with out having any problems. This term may indicate a racial connection or imply the visual expressions of a race or its specific characteristics, but, as I argue here, this reading is not only simplistic but dangerously misleading for everyone and for Art work.

The real significance of the term lies in its specific temporality and historicity, which is often ignored even by those who write sympathetically about the work of black artists and their contribution to mainstream British culture. In fact to ignore this specificity and its social significance – which expresses not only a critical moment in the history of postwar British society but also a black experience and its articulation within the trajectory of postwar modernism – and to collapse it into whatever is produced by black artists is to undermine its historical importance.

However, when I was doing this research I found out that the allusion to ‘race’ in this specificity indicates an experience of a particular group of people or a community, which has resulted not necessarily from its own perception of itself but the way white society defines it by invoking its difference. I believe that this difference is of course there and is part of the community’s identity, but it is not important to what it says to in the modern world but what we believe. What therefore concerns Black Art is not so much this difference as how this difference is defined and experienced in a society that has not yet fully come to terms with its colonial past and its racial violence.

It seems that the intensity of this experience among some black art students was so great. It was this denunciation that underlies the emergence of Black Art in the early 1980s. It should not therefore be confused with the work of every black artist before and after this emergence.

Here I would like to first give a brief history of Black Art in Britain, describe its specific aims, objectives, and indeed its true vision, and then to see what was its achievement; and finally to ask how and why an art which began with a historically important radical position and agenda failed and collapsed into what has now become anything produced by non-white artists.

Although the idea of Black Art became widespread by the mid-1980s, as part of what is now known as the Black arts movement, comprising and encapsulating visual arts, film, photography, poetry, theatre, etc, my concern here is specific to various visual art expressions of Black Art.

What was particularly significant about Black Art was its ability to respond critically to the social and political forces of the time, and to set up an ideological framework for a militantly radical art movement. Its aim was to confront and change the system that, though centered in the West, put and dominated the whole world.

It was the time when in Britain, as well as in the US in particular, the political leadership turned to the right in order to explicitly re-establish its anti-socialist and imperialist agendas, with dire consequences for the world at large but also for the liberalism of the mainstream art world.

It was in this sociopolitical milieu, when many ‘avant-garde’ white artists – as they were thus deprived of their historical roles as the progressive conscience of Western liberalism – began to turn to their inner selves, cynicism and language-games, that Black Art in Britain came up with ‘a voice of humanity’, as some researchers wrote in 1982, ‘that refuses to be brutalized and in-sensitized’.

The amazing era of the Black Arts Movement developed the concept of an influential and artistic blackness that created controversial but significant organizations such as the Black Panther Party. The Black Arts Movement called for “an explicit connection between art and politics” (Smith). This movement shaped the most widespread age in black art history by captivating stereotypes and prejudice and turning it into artistic assessment.

Black art can refer to Art forms by persons of African descent. Specifically to the American, Australasian or European Black Arts Movement. Black magic even to the black art, a visual result in phase magic or to a chronological term for typesetting.

For Black Britain particularly, the decade brought modest applaud. The ‘riots’ of 1980 and 1981 seemed to confirm and solidify a marginal status for black British youth, whilst the injury of Cherry Groce and the death of Cynthia Jarrett likewise seemed to confirm an apparent cheapness of black life. All in all, it’s easy for us as a nation to imagine that the fractiousness and dissatisfaction of contemporary Britain has its roots in the things that happened to us in the 80s. We can’t quite put our finger on what’s wrong with 2005, but we have a sense that the 80s may well have something to do with it.

Keith Piper – ‘’Go West Young Man’’, 1996.

Customs and morals are not the same but this does not mean that I cannot involve myself and continue with my own life due to it being my decision to study elsewhere. I have discovered foreign artists living in other country’s who have based their own work on the way they have been up in their country of origin making this an advantage of discovering new ways. When I was doing my research I found out an artist called Keith Piper, a black artist who is important in organizing group exhibitions. He was part of and listened to the story of immigrants, involving himself showing photographs and text. I have chosen him as an artist because he is very important as a black artist. Drawing the bases of upcoming black art and artists he signify’s various points in his work.

This new publication Shades of Black: Assembling Black Arts in 1980s Britain attempts to put a positive spin on the 80s, wrapping itself around the rather overblown claim that the decade saw ‘the Black Arts Movement burst onto the British art scene with breathtaking intensity, changing the nature and perception of British culture irreversibly’.

For the most part, the book (which grew out of a conference held in the US in 2001) consists of 13 essays by contributors such as Rasheed Araeen, Keith Piper, Lubaina Himid, Naseem Khan and Gilane Tawadros, supplemented by a selection of artists’ images from the 80s and a chronology of artistic, cultural and political events from 1960 to 2000.

The contribution that most stridently remembers the 80s as a decade of disappointment and errant behavior is Araeen’s essay ‘The Success and the Failure of the Black Arts Movement’. In the staining knockabout speech that has turn out to be his brand, Araeen waxes lyrical about the extensive cast of characters from the 80s that have grievously disappointed him. For Araeen, the decade got off to a bad start when a paper he presented at a conference in 1982, ‘Art and Black Consciousness’, was ‘received with coldness and indifference’.

His 80s then went from bad to worse with the presentation of a large-scale exhibition that, Araeen argued, ‘turned out to be a disgraceful display of black mediocrity and third-rateness’. One hapless individual who was a particular source of sorrow for Araeen is chastised for failing Araeen’s litmus test. This sorry character, having dropped ‘his radically confrontational position’, went on to adopt ‘a change of view that was contradictory to the aims and objectives of black art’. Modesty prevents me from putting a name to the said individual.

Chila Kumari Burman, 1992.

Authenticity refers to the honesty of sources, ascriptions, promises, sincerity, devotion, and intentions. Authenticity or Authentic may refer to Authenticity (art), which describes the perception of art as faithful to the artist's self Considerations of time and space in art-historical narratives which are vital to understanding the conundrum of representation faced by modern and contemporary African artists. Within global capitalist, contemporary culture, location and dislocation, hybridity and syncretism, and narratives of movement and translation abound. The space from which one speaks and the voice in which one articulates identity become critical factors in establishing measures of authenticity and value. Throughout the evidence that I have constructed, authenticity can be seen in and out of art and questions the originality of someone’s work. Authenticity is the ground of being genuine up to an extent. An authenticity style of art is described by an individuals experience of being authentic, substantial and genuine, controvert to being commercial.

What do these revelations about authenticity say about Africa as a constructed field of knowledge within the contemporary art world? As I argue below, in each case, the catalogue author-curators structure these concerns in distinctive ways — but, taken all together, they form an important lens onto a developing discourse. Nor is this discourse divorced from broader art-historical concerns. In fact, many of the questions under debate echo longstanding European understandings of artistry, creativity, authenticity, taste, and aesthetic value.

McEvilley ends his round-up by creating opposing camps that gloss over distinctive, sometimes contradictory, and often shifting views of critics, curators, and scholars within the field, pitting the Picton-Stanislaus-Forum-Nka crowd against the Magnin-Martin-Vogel-Pigozzi lineage.

After dividing, he seems to call for a détente, writing that "It seems unnecessarily quarrelsome for the disagreement to persist at all. Will the two streams of African-art-in-the-West come to coexist and complement each other?" This question may be addressed by the one major player he has surprisingly or perhaps deliberately left out of the picture: Simon Njami.

McEviiley's essay "How Contemporary African Art comes to the West" is a remarkable attempt to rewrite the discourse surrounding these arts as it has developed over the last fifteen years. While much of the writing accompanying these exhibitions has been concerned with defining modern and contemporary African arts (and the two are not the same thing), McEviiley's essay rereads these past efforts in a deliberate act of canon reformation.

He is chiefly anxious with appealing those serious of the Pigozzi-Magnin approach. Parsing his summaries of debates, curatorial choices, and critical writings in the field, it becomes clear that we are, in effect, entering "the ditches of some of the most elemental art-historical debates about authenticity, the limits of canonical ideals, and the subjective constructions of value and taste."

Taking everything into account by attempting merely to add to the status quo, the curators open themselves up to easy dismissal on grounds of quality. And that is precisely the tack McEvilley takes, structuring an argument against the purity and authenticity of the conceptual works in question that eerily parallels that of Sewell's rant against contemporary African productions cited above: "That these artists practice a diluted or 'weak' form of conceptualism does not go very far toward proving the existence of conceptual art in Africa.

Rather, it proves that conceptual art exists in the various non-African places where these artists were educated and live". It is easy to find modernism's founding myths of originality, belief in artistic genius, and pursuit of universalisms of form and meaning within these writings about Africa, contemporaneity, and artistic expression.

Bibliography:

Araeen, Rasheed. (2007) Inverted Racism, Art Monthly, Issue 306, p39-40

Bonami, F., eds., (2005) Universal Experience Art, Life, and the Tourist's Eye, Chicago: Museum of Contemporary Art, p23

Chambers, Eddie. (2006) Black Is a Color, Art Monthly, Issue 294, p36-37

Coles, A., ed., (2000) Site specificity: the ethnographic turn, London: Black Dog Publishing, p1-13

Pnina Werbner, (2003) 'Introduction: The Dialectics of Cultural Hybridity,' in Debating Cultural Hybridity: Multi-Cultural Identities and the Politics of Anti-Racism, Pnina Werbner and Tariq Modood, eds., p22

Schäfer, Henning. (2004) A Celebration of Impurity, Locating Syncretism and Hybridity in Native Canadian Theatre, Textual Studies in Canada, Summer2004 Issue 17, p79-96

Werbner, Pnina. (2002) The limits of cultural hybridity: on ritual monsters, poetic license and contested postcolonial purifications, Journal of the Royal Anthropological Institute, Vol. 7 Issue 1, p133

 

黑色的艺术作品
开始我想说,我的文章是基于黑色的艺术作品。今天,许多人想忘记发生在80年代初和'黑色艺术'的确切含义是什么。因为他们想用它来工作并与出有任何问题。这个术语可能表明种族连接或暗示的种族或它的具体特点的视觉表达,但是,我认为在这里,为大家和艺术作品,这种阅读不仅是简单的,但危险的误导。
一词的真正意义在于在其特定的时间性和历史性,这往往被忽视,甚至那些谁写同情黑人艺术家的工作和他们的贡献,英国主流文化。事实上忽略这种特殊性及其社会意义 - 它不仅表示在战后英国社会的历史,但到了关键时刻,也有黑色的经验和衔接战后现代主义的轨迹内 - 它折叠成任何所产生的黑色艺术家是破坏它的历史重要性。
然而,当我在做这个研究,我发现,在这种特殊性的“种族”的典故,表示一个特定的一群人或一个社区,这导致从它自己本身的看法,但不一定一路白社会经验定义通过调用其差额。我相信,这种差异当然是有社会身份的一部分,但它并不重要,它说什么,在现代世界,但我们相信什么。因此涉及黑色艺术与其说是这种差异,这种差异是如何界定和在社会尚未充分认识到其殖民地历史和种族暴力的经验。
它的强度在一些黑色的艺术系学生这方面的经验似乎是如此之大。正是这种谴责,在20世纪80年代初出现的黑色艺术的基础。因此,它不应该被混淆此之前和之后出现的每一个黑人艺术家的工作。
在这里,我想先给黑色艺术简史在英国,描述其特定的目的,目标,确实是其真正的视觉,然后看其成就是什么;终于问如何以及为什么开始的一门艺术,历史上重要的激进立场和议程失败,崩溃到现在已经变成任何东西所产生的非白人艺术家。
虽然黑色艺术成为20世纪80年代中期普遍的想法,什么是现在被称为黑人艺术运动,包括视觉艺术,电影,摄影,诗歌,戏剧等封装的一部分,我这里关注的是特定的不同黑色艺术的视觉艺术表现。
什么是特别显著的黑色艺术的能力,批判性回应的时间到社会和政治力量,并设立一个好战的激进艺术运动的思想框架。它的目的是要面对和改变系统,虽然在西方为中心,付诸表决,并统治了整个世界。
这是时间,尤其是在英国的时候,以及在美国的政治领导转向右边,以明确地重新建立反社会主义和帝国主义议程,为世界与可怕的后果大,但也为自由主义的主流艺术世界。
正是在这种社会政治环境,当许多“前卫”白艺术家 - 因此,他们被剥夺了他们的历史作用逐步良知的西方自由主义 - 开始转向自己内心的自我,玩世不恭和语言游戏,黑色英国艺术来到了“人类的声音” ,一些研究人员在1982年写道, “拒绝被摧残和敏。
黑人艺术运动的惊人的时代,发展的概念创造了争议,但重要的组织,如黑豹党的影响力和艺术性的黑暗。黑人艺术运动称为“一个明确的连接艺术与政治之间” (史密斯) 。这个运动在黑色的艺术历史塑造了最广泛的年龄由迷人的陈旧观念和偏见,并把它变成艺术评估。
黑色艺术的艺术形式可以参考的非洲裔人士。具体到美国,澳大拉西亚和欧洲的黑人艺术运动。黑色魔偶的黑人艺术,视觉效果相魔法或按时间顺序排版术语。
特别是黑色英国,十年带来适度的鼓掌。 1980年和1981年的'暴动'似乎确认并巩固英国黑人青年的边缘地位,而损伤的樱桃Groce和辛西娅·贾勒特同样的死亡似乎证实了黑人生活的明显便宜。所有的一切,我们作为一个民族的想象,的fractiousness和当代英国的不满有其根源在于我们在80年代发生的事情很容易。我们不能完全把我们的手指上与2005年有什么是错的,但我们必须从某种意义上说,上世纪80年代很可能用它做的东西。
基思·派珀 - “西部大开发的年轻男子” ,1996年。
海关和道德是不一样的,但是这并不意味着我不能涉及自己,继续用我自己的生活,因为这是我决定到别处学习。我发现外国艺术家居住在其他国家的人都根据自己的工作的方式,他们已经在他们的原籍国发现新的方法的优势。当我做我的研究,我发现一个艺术家叫基思·派珀,黑人艺术家举办群展谁是重要的。他的一部分,并听取移民的故事,涉及到自己的显示图片和文字。我已经选择了他作为一个艺术家,因为他是非常重要的,因为一个黑人艺术家。绘制基地即将到来的黑色艺术和艺术家,他表示,在他的作品中的各个点。
这本新书的黑色灯罩:组装黑人艺术在20世纪80年代,英国试图把一个积极的自旋上世纪80年代,英国艺坛闯入看到“黑人艺术运动以惊人的强度,改变十年左右,而夸大的索赔,把自己裹英国文化的性质和感知不可逆的“ 。
大多数情况下,这本书(它的前身是2001年在美国举行的一次会议)由纳西姆汗希米德Lubaina ,拉希德Araeen ,基思·派珀,和Gilane Tawadros贡献者,如13篇文章,辅以精选的艺术家“从上世纪80年代,从1960年到2000年的艺术,文化和政治事件年表图像。
最刺耳的贡献,记得上世纪80年代十年的失望和错误的行为是Araeen的文章“黑人艺术运动”的成功和失败。在染色杂家小子“讲话中,已经变成是他的品牌, Araeen蜡抒情的广泛投悲伤失望,他从上世纪80年代的字符。对于Araeen ,十年下车纸张时,他于1982年在一次会议上提出,“艺术与黑人意识' ,是'收到的冷淡和漠不关心'一个糟糕的开局。
他的80年代,然后去每况愈下的大型展览的介绍, , Araeen认为, “横空出世是一个不光彩的显示黑平庸和第三rateness的' 。一个倒霉的个人,谁是一个特定的源对Araeen悲伤责罚为失败Araeen的试金石。这种可悲的字符,下降'他根本对立的位置,采用了“黑色艺术”的宗旨和目标是矛盾的变化来看。谦虚阻止我把名称说个人。
吃辣的库玛丽缅,1992。
真实性是指诚实的来源,归属,承诺,诚信,敬业,和意图。真伪或正宗的可能真实性(艺术) ,其中介绍了对艺术的感知作为艺术家的自我的注意事项了解代表非洲现代和当代艺术家所面临的难题的关键在艺术史叙事的时间和空间的忠实参考。在全球资本主义中,当代文化,位置和错位,杂糅和融合,移动和平移和叙述比比皆是。人说话的声音,其中一个明确的身份成为关键因素,建立措施的真实性和价值空间。 ,我已经构建整个证据,真实性可以看出,在和艺术和问题别人的作品的独创性。真实性是真正的在一定程度上地面。真实性的艺术风格所描述的是正宗的,实质性的和真正的个人经验,驳斥商业。
这些揭露真实性说什么关于非洲作为构造的知识领域内的当代艺术世界?正如下面我认为,在每一种情况下,目录作者策展人结构独特的方式 - 但这些关切,采取一切在一起,他们形成一个重要的镜头到发展中国家的话语。这也不是脱离更广泛的艺术史关注的话语。事实上,许多争论的问题呼应欧洲长期的艺术性,创意性,真实性,味道和审美价值的理解。
McEvilley结束了他一轮增长创造对立阵营掩饰鲜明,有时是相互矛盾的,和经常转移领域内的意见,批评家,策展人,学者,点蚀皮克斯坦尼斯论坛-NKA人群对马格宁 - 马丁 - 沃格尔, Pigozzi传承。
分裂后,他好像叫缓和,写说:“这似乎是不必要的争吵的分歧坚持两条溪流非洲艺术在西来共存,互为补充吗?”这个问题可能会解决由一个主要的球员,他令人惊讶的也许是故意留出的画面: Simon Njami的。
McEviiley的文章“当代非洲艺术来西方”是一个了不起的尝试重写周围的话语,因为在过去的15年里,它已经开发这些艺术。伴随这些展览的写作虽然许多定义现代和当代非洲艺术(和两个不一样的东西) ,一直关注McEviiley的文章重读这些过去的努力,佳能改革的蓄意行为。
他Pigozzi马格宁方法呼吁那些严重的,主要是着急。解析他总结辩论,策展人的选择,并在该领域的重要著作,它变得清晰,我们是在效果,进入“的沟渠中的一些最基本的艺术史的辩论真实性,规范的理想的极限,主观建设的价值和口感。 “
考虑到一切的帐户只是试图通过添加到现状,策展人打开自己容易解雇理由的质量。而且那是正是粘性McEvilley的需要,构建反对的纯度和真伪问题的概念性作品,出奇的相似,休厄尔的咆哮对当代非洲制作援引上述的参数: “那这些艺术家练习一个摊薄或'弱'的形式,观念主义不会走得很远朝证明概念艺术在非洲的存在。
相反,它证明,概念性的艺术存在的各种非非洲地方地方教育这些艺术家和生活“ 。很容易发现在这些独创性的现代主义的创始神话,艺术天才的信念,并追求形式的普遍性和意义关于非洲,当代,艺术表现力的著作。
参考书目:
Araeen ,拉希德。 (2007)倒种族主义,艺术月刊,第306期, P39- 40
博纳米, F.合编,普遍的经验(2005年)艺术,生活,旅游的眼睛,芝加哥当代艺术博物馆,P23
钱伯斯,埃迪。 (2006 )黑颜色,艺术月刊, 294期, P36- 37
科尔斯, A. ,编辑, (2000)网站特异性:人种学转弯,伦敦:黑狗出版, P1 -13
Pnina Werbner (2003) “介绍:文化杂合的辩证法,”在辩论文化杂合:多元文化认同与政治反种族主义, Pnina Werbner塔里克Modood ,合编, P22
谢弗,亨宁。同庆A (2004)的杂质,杂糅在加拿大原住民的剧院,在加拿大的研究考证, Summer2004 17期, P79- 96定位合一
Werbner , Pnina 。 ( 2002)文化杂糅的限制:仪式上的怪物,诗意的牌照和有争议的殖民纯化的皇家人类学研究所,卷,期刊。 7第1期, P133

酒店管理专业ps写作案例

Personal  Statement

“Travel or read, but either your body or soul must be on the way”. I throw my trust on this sentence and enjoy the joy and delight it brings for travel has become an indispensable part of my life. My travel career commenced in childhood when my parents took me traveled around. In our domestic journeys, I, the girl from a small town felt it a great pleasure to overlook and appreciate towering mountains, endless sea, forest of skyscrapers, and copious rural area scenery; while traveling abroad, I was bestowed with a feast of ethnic cultures all around the world, namely, the palace of dream-Paris, the fascinating spring in Kyoto, and the splendid night in Hong Kong. Unable to figure out an appropriate reason, I naturally desire to wander around to appreciate and understand diverse local customs as well as cultures, to worship the uncanny workmanship of nature, to record my feelings on the way, and to taste delicious food. To walk in different cities and view different landscape and scenery of the world, and then to view and perceive the world from a different perspective-this is the very profound significance of travel.

 

However, one is bound to return to the start point no matter how far he/she travels. It is such reason that drives me to do something for people who are still on the way, and this is also the reason why I am so captivated about the hotel industry. After entering university, whenever I travel with parents or friends, I am the one designated to be responsible for arranging hotel accommodation, because they all firmly trust my unique criteria on hotel selection. I will always pick out the most cost effective and suitable hotel among budget hotels or upscale hotels. Such numerous trips also sparks my idea to conduct a better understanding of hotel management and operation.

 

I have arrived at Los Angeles twice respectively during the summer camp in 2011 and my parent’s self-driving tour around the western United States in 2013. I crushed on San Diego especially in the self-driving tour when we spent an unforgettable night there. I caught a nostalgia of the blue sky, crystal sea, as well as the seafood restaurant with authentic taste. I visited the majestic U.S. Pacific Flee Base in Port of San Diego, watched seals frolic in groups in La Jolla Beach, as well as appreciated the most beautiful sunset in my life. However, I was sorry I could not stay in this beautiful city much longer to slowly savor the charm of her beauty. Surprisingly is that my university develop a project to do internship in San Diego. It will be the biggest good news to me if I was given the opportunity to do internship in the hotel in San Diego.

 

During my three years of study in this university, I actively participated in various volunteer projects, through which my communication skills and leadership ability has been greatly improved, so did my knowledge and understanding of the real society. In these projects, I was able to contact with various types of people, such as I taught autistic children painting and music in the Special Education Center, chatted or did handwork with the elderly in the nursing homes, carried out the work of guidance in the Alumin Associations of the university, and so forth. I occupy strong executive ability as well as enthusiasm of planning, which is the very reason that I chose marketing as my undergraduate study. In addition, I made encouraging academic achievements under careful instruction of my teacher in the past three years.

 

I am confident that I am competent in the hotel work in San Diego. Firstly, I have advantage in English, and I achieved 96 in TOEFL test in my sophomore year. Secondly, I have ultra-high passion for hotel service, because I will not only serve travelers on the way, but also accumulate plenty of experience and knowledge from it. Thus I, a person with strong sense of responsibility, will properly complete the work assigned.

 

For future, I plan to return to my motherland-China to assume a hotel job, the hotel I have ever practiced in would be better, after graduating from university, that is after completing my internship in San Diego. On one hand, the hotel industry related to tourism in China is promising, I am eager to contribute to the hotel industry in China, as it is in a stage of rapid development. On the other hand, I am greatly attached to my friends and parents. I am the only child at home so I will never settle far away from my parents. Therefore, to return to China and to be engaged in a hotel job is the best choice for me.

Statement of Objectives案例

Statement of Objectives


Applicant’s Name: Lei Luo

Study Intention: M.A. Fall 2014

Preferred Advisors: Prof. Douglas G. Goodin, Prof. Marcellus M. Caldas

 

When I first heard the term “Remote Sensing” in the course Introduction to Remote Sensing, I thought it was something related to television remotes until my teacher used an application of it to illustrate remote sensing. There was a drought in an African country, where people were starving to death for the lack of food. The United Nations decided to send some food there before which they wanted to know how much food to send there. Remote sensing experts first evaluated the produce of rice or other crops in that country by employing remote sensing to calculate how much food was needed for survival, and then the UN would send the exact amount of food there. Though the job may sound easy, I feel it a great honor andresponsibility for it saves life and allows for no mistake. After that, I made up my mind to pursue my career as a remote sensing expert, which asks for in-depth studies in graduate school. Thus I want to first complete my graduate study abroad, and then continue to study for a Ph.D. degree.

 

I will get my diploma for Bachelor of Science in Geographic Information Science from China University of Geosciences (Beijing) in July 2014, and I have studiedcourses related to remote sensing,such as Introduction to Geo-information Science, The Principle and Methods of Remote Sensing,Remote Sensing Image Processing, Application of Remote SensingandRemote Sensing Software Practice,with an average score of 92.96.

 

Apart from taking theoretical courses, I have done many researches on remote sensing’s application in environment, vegetation and land use/cover. I also published several papers in these fields. Study on Geographical Change of the Economic Center of Beijing Based on Landsat TM Data, published on Huazhang, is about land use classification, economic and statistic models providing guidance to city planning. Ways to Improve the Accuracy of Land Use Classification for Mid-resolution Remote Sensing Data: A Case Study of Tongliang County, Chongqing City is a paper concerning multiple ways to improve the accuracy of supervised classification for moderate resolution satellite images. Vegetation Dynamic Monitoring: A Case Study of Yanqing, Huairou, Miyun District,published on Information & Communications, is aboutthe use of NDVI and method of pixel dichotomization in dealing with dynamic monitoring on forest variance.

 

With more spare timein the final year, I went to seek internship to explore more about remote sensing.Now I am a visiting graduate at Institute of Remote Sensing and Digital Earth, Chinese Academy of Sciences, working with researcher Zhang Xin, mainly responsible for remote sensing images processing, land use classification, inversion of environmental parameters and evaluation of models. We are researching object-oriented classification, inversion of environmental parameters, evaluation of human impact on land use change, ecology and environment in Jiulongjiang Basin region, Fujian Province, China.

 

I want to continue my study in environmental processes, physical geography and land use/cover by using remote sensing, GIS and spatial-temporal approaches. I’d like to work with Dr. Douglas G. Goodinand Dr. Marcellus M. Caldas, because we share many common research interests, and most importantly, they are excellent researchers with whom I will learn a lot of study methods and realize my pursuit of being a remote sensing expert. I recently read Dr. Goodin’s paper Identifying a suitable combination of classification technique and bandwidth(s)for burned area mapping in tallgrass prairie with MODIS imagery, in which pixel-based classification and object-based classification are compared. I also have done similar research on these two classification methods, and like SPOT 5, and for artificial land use, such as farm land, and not suit for mountain areas, in this case burned and unburned areas, because there are not many geometric properties. Studying and exploring methods to better understand the environmental processes, land use/cover are what I want to studyand I believe I can make a qualified researcher out of me under the instruction of Dr. Goodin and Dr. Caldas.

 

My research interest is to study land use/cover and physical geography by employing remote sensing and GIScience. Graduate study at the Geography Department, K-State addresses all these aspects, making it a perfect place to continue my future study where many research labs and facilities, such as GISSAL and Remote Sensing Lab, are available, which can facilitate my researches and study at K-State. The Geography Department at Kansas State University represents high academic and research ability in land use/cover, physical geography, remote sensing and GIScience. I will improve my research ability and devote myself to what I am interested in if I was given the opportunity to enter the Geography Department at K-State.

ps案例-法律类

Personal Statement

I have keen interest in bake whose procedure, seemingly like that of law and accounting, is supposed to formulate a strict control of the process, steps, the quantity, etc. We may also harvest food even when we put a little more flour, egg, or milk, but it can never be the most delicious because even a slight add of such ingredients can almost result in the failure of the whole precess. Thus one should be very cautious about the bake procedure, so does the law and accounting.

 

During middle school, as a science student, I am extraordinarily interested in mathematics. And later I found myself enthusiastic about accounting after I chose the accounting course and the accounting law. Then I chose forensic accounting and forensic accounting practice which attracted more of my attention than before. Law and accounting is mysterious like clearing up a case in detective fictions or films. Law stands for fairness and justice in modern China, and Chinese people are now growing more and more aware of the importance of law in regulating a harmonious country. Also more and more people are committed to work for a legal society, and I am eager to be one of them. Chinese said that China has welcomed its spring of governing by law after the appointment of chairman Xi Jinping, and I am looking forward to add a ray of my brilliance to the splendid spring of legal society. Therefore, I am more than delightful when I found that LSE offers a master program in law and accounting.

 

In my college study, I have ever studied the accounting, accounting for lawyers, practice for forensic accounting and financial management in which I achieved high grades as more than ninety scores. Due to my study of science in middle school, I could not master the study method of liberal arts as good as others, but thanked to my diligence and unremitting endeavor, I made a great progress and won a scholarship in the third year. In addition, once I was assigned as an exchange student to study e-commerce and international business in California State University--Long Beach for a period of time, during which I fell in love with the teaching methods there and gradually accustomed myself to the teaching in English.

 

When it comes to my project or working experiences corresponding to the program I want to apply for, I figure out three relative events I have participated in. The first was my participation in the study of “the survey and analysis of the ‘three public expenses’ respectively in 2010 and 2011 in the national ministries and commissions” conducted by forensic accounting research center of China University of Politics and Law, where we collected as much data as possible and analyzed them horizontally and vertically. What impressed me most was our successful team cooperation without which we could hardly complete the project study in such a rapid speed. The second was my research of “ the portrait of Chinese corrupt officials: the statistics and analysis of the feature index of Chinese corrupt officials” whose most challengeable point was the collection of data for the limited collecting channels. I tried my best to search for statistics via websites and finally overcame such a big obstacle. Last, I have ever completed a labor arbitration case in which I endeavored to obtain 5000 yuan for a labor who did not sign a labor contract. The above-mentioned cases did help me accumulate experience in this field, but I realize the urgent needs for further knowledge in this field.

 

As an affectionate person, I occupy strong team spirit and service spirit. I experienced many times of volunteer activities: supporting the education in rural areas, being guide of the art gallery, being the volunteer of the international conference on long walk, and the volunteer of 60th anniversary of the founding of my university. I won praise and recognition from my teachers as well as from my classmates. With a cautious attitude and a strong sense of planning and time, I always acted as a planner or coordinator in team cooperation. When operating on a project, I would first communicate and negotiate with our team members before we made an important decision; when we occurred to have different ideas, I coordinated to solve the disputes and determined the trade-offs.

 

LSE is a well-known university around the world and its arrangement of law and accounting program attracts me deeply. I favor the combination of two majors because I can acquire further knowledge there. I want to apply law and accounting feasibly to actual life where I can shoulder some social responsibility and become a person of accomplishment. China is now in great needs of such comprehensive talents, and I hope my choice will make some difference to my motherland.

 

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