What Are the Purpose of Endnotes and How to Use Them

An endnote is a reference, explanation, or comment placed at the end of an article, research paper, chapter, or book.  Like footnotes  (which are used in this article), endnotes serve two main purposes in a research paper: (1) They acknowledge the source of a quotation, paraphrase, or  summary; and (2) They provide explanatory comments that would interrupt the flow of the main  text. Endnotes vs. Footnotes Your department may specify whether you should use footnotes or endnotes, especially for a thesis or  dissertation. If not, you should generally choose footnotes, which are easier to read. Endnotes force readers to flip to the back to check every citation. On the other hand, choose endnotes when your footnotes are so long or numerous that they take up too much space on the page, making your report unattractive and difficult to read. Also, endnotes better accommodate  tables, quoted poetry, and other matter that requires special typography. (Turabian, Kate L.  A Manual for Writers of Research Papers, Theses, and Dissertations, 7th ed., University of Chicago Press, 2007.) Readers of academic and scholarly books usually prefer footnotes to endnotes because the former allows them to skim the notes without losing their place in the text. Popular wisdom, however, says that nonscholarly readers are either reluctant or unwilling to purchase a nonfiction trade book whose feet are hemmed with ribbons of tiny type; thus most trade books place (the shop term is bury) the notes containing sources and references at the back of the book. (Einsohn,  Amy. The Copyeditors Handbook,  University of California Press, 2006.) Endnote Conventions An author or title mentioned in the text need not be repeated in the footnote  citation, though it is often helpful to do so. In an endnote, however, the author (or at least the authors last name) and title should be repeated, since at least some readers may have forgotten whether the note number was 93 or 94 by the time they find it at the back of a work. Such frustration can be prevented by the devices illustrated in the examples below. 34. This and the preceding four quotations are all from  Hamlet, act 1, sc. 4.87. Barbara Wallraff,  Word Court  (New York: Harcourt, 2000), 34. Further citations to this work are given in the text.​ (​The Chicago Manual of Style,  University of Chicago Press, 2003.) Endnote Numbering Endnotes are numbered consecutively throughout a chapter or article, with each new chapter or section starting over with endnote 1. The notes section at the back is then broken down by chapter or section, with the corresponding endnote numbers listed underneath. Place endnote numbers within the text in superscript type (small typeset above the line). In the notes section, use the same number to identify the endnote with the number in the text. (Robbins, Lara M.  Grammar, and Style at Your Fingertips,  Alpha, 2007.) Sample Endnotes From Pennebakers The Secret Life of Pronouns Chapter 2: Ignoring the Content, Celebrating the Style19. The drawing is from the Thematic Apperception Test by Henry A. Murray, Card 12F, Cambridge, MA, Harvard University Press.20. Throughout this book, I include quotations from people who have been in my studies or classes, from text on the Internet, or even from conversations or e-mails from friends or family members. In all cases, all identifying information has been removed or altered.22. In this book, the terms style, function, and stealth words are used interchangeably. They have many other names as well —  junk words, particles, and closed-class words. Linguists tend to disagree about the precise definitions of each of these overlapping terms. (Pennebaker, James W.  The Secret Life of Pronouns: What Our Words Say About Us,  Bloomsbury Press, 2011.)

Why Capital Punishment Should Be Reinstated in Australia

Australian society has ultimately rejected the idea of the practice of capital punishment making a return into the Australian law books. However, events such as the September 11, 2001 terrorist attacks and the Bali bombings have ensured that the spotlight once again shines on the controversial subject. I am in favour of the practice returning to Australia for heinous crimes such as murder, child molestation, serial rapists, and people who commit acts of animal cruelty. This is because: †¢ The death penalty deters crime †¢ The victim or those close to the victim deserve justice and will receive closure †¢ It’s far more economical to execute prisoners locked away †¢ DNA testing reduces the risks of mistakes being made †¢ The death penalty†¦show more content†¦I acknowledge that the occasional execution of an innocent person is a tragic event, and the answer is not to dismantle the system, but to exercise even more care in its application. My fifth and final point is that the death penalty doesn’t violate the right to life. Once you commit a serious crime such as murder, rape or child molestation, you destroy many lives and the damage can be irreparable! Through the destruction of another person’s right to life, you forfeit the right you held to your own life. We cannot condone the fact that grandmothers such as 78-year-old Josephine Cesnik was beaten and threatened in her own home earlier this year. Mrs. Cesnik died nine days later, afraid of seeking help because she feared her attacker would return and kill her. We cannot condone the fact that eight-year-old Sofia Rodriguez Urrutia-Shu was raped and murdered in a Perth public toilet in June 2006. Mrs. Cesnik’s family was robbed of a loving grandmother, while the Urrutia-Shu family lost a sweet, quiet little girl. These cowards have completely shattered many lives, while the both the Howard and Rudd governments have the audacity and hypocrisy to allow 6 members of the Bali Nine to be executed by firing squad overseas! A twisted life allowed to continue cannot redeem the innocent life taken, nor can it repair the lives destroyed. Bibliography †¢Show MoreRelated Death Penalty Essay1171 Words   |  5 Pages Death Penalty The death penalty, outlawed in most of Europe, Canada, Australia and most other countries in the world, is still practiced in almost 40 states in the U.S. Today, there are more than 3,000 people on death row waiting the day of their execution. They are put to death by methods such as hanging, electrocution, lethal injection and by firing squad. Since the death penalty was reinstated bye the supreme court in 1976, by the Gregg v. Georgia decision, more than 525 people have been putRead MoreCapital Punishment1276 Words   |  6 PagesOutline I. Religious Views a. Hinduism b. Jainism c. 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Beyond Beyond Fashion Free Essays

There is a trick of my writing teacher: When we finish reading an essay, first he asks: â€Å"What is it about? † We answer, then he asks:† If that’s not what the essay is about, then what is it about? † So we answer again, striving to squeeze out every drop of intelligence out of our brain cells. Repetitively, after we are willingly tortured by this same question for three more rounds, the essence of the essay shows up. This was exactly the same feeling I received from the exhibition Charles James: Beyond Fashion, displayed by the Costume Institution of the Metropolitan Museum of Art. We will write a custom essay sample on Beyond Beyond Fashion or any similar topic only for you Order Now Throughout the exhibition, I was asked this question over and over again: If fashion is not what the exhibition about, then what? Started from Maya and lasting until August 10, the special exhibition of Costume Institute of Metropolitan Museum presents the audience signature pieces of Charles James, an Anglo fashion designer who was active during the post-WWW 20th century in America. The exhibition is held in the special exhibition galleries on the Museum’s first floor and The Costume Institute’s Anna Winter Costume Center on the ground floor, including one small adjunct hall showing documents. Fifteen evening ball gowns and about fifty ready-to- wears are displayed. With intricate costumes, James first of all stood out as a king of fabric sculptor without crown beyond the simple definition of a fashion designer who made clothes that fit in the trend. The costumes were indeed â€Å"amazing†Ã¢â‚¬â€- quoting the most commonly used word of the visitors. James’ original spiral cut, almost seamless design and the free draping technique are still not nearly comparable in the present day. They were not Just fashion, but sculptures that go around human body with full artistry and could stand the test of pure aesthetic examination. However, if the costumes were examined even beyond their tags of â€Å"fashion† and beyond their sculptural appearances, the intention of these designs was actually in some degree provoking, if we examine the quotes of James that were written on the walls of the halls. A quote of James revealed that his ideal of fashion was largely sexual. â€Å"The feminine figure,† he believed, was â€Å"intrinsically wrong†. Thereby he claimed, â€Å"All my seams have meaning, they emphasize something about the body. † In this way, he striver to â€Å"perfect† the female body, however destroying the natural beauty of female odd at the same time. As a result, the innate motive beyond the fashion appearance of these designs was sexism aesthetics of the traditional malpractice, which should have been eliminated a long time ago. James’ fastidious and male-centric aesthetic of female figure beyond his ability as an artist was further revealed by details in his designs. In the actual practice, James overemphasized the female parts. First, the tops gather into sharp and pointing horn. This design was made possible by darts of the gowns’ tops following the traditional Rococo corset, which once made the teenage arils and young wives’ waistlines tiny but at the same time cruelly took away many of their lives. At the same time, the bottoms of gowns spread widely. Either the gowns had big volume of piled-up drapes on the hip, or they were supported directly by two bustles, which was also a typical classic masculine aesthetic that addressed female’s ability of bearing kids. Overall, James’ costumes remade a women’s body into a funnel shape. In addition, the bosoms were preferably shaped as cones, which presented women lasciviously. Even in the Victorian times, this male-dominant esthetics was giggly controversial for these characteristics defined females simply attractive in the way of a reproduction and bearing machine. In the post World War II America, after the liberation of female body brought by the ‘H’ dresses, this Victorian renaissance was a recess that brought female back into the prison of clothes. Rather, in today’s aspect, these aesthetics of female body are morbid. For females, it is the blood and tears in females’ costume history. These characteristics, as â€Å"beautiful† as some might consider, are dross of the Victorian culture that should never be reused to improve he figure or even hinted in a modern design. I have to say, peeking into the motive of the designer, I saw an egocentric though man who are arrogant in the way he examining females. Finally, the end of the exhibition explored what truly was beyond this fashion designer Charles James explored even deeper. Beyond a fashion godfather, a king of fabric sculpturing, and a self-involved and orthodox masculine artiest, the documentary hall showed James as a person. Traditional mannequins and sketches were shown. While at the meantime, the document room also showed he videos clips of James kissing his finale model on her cheek before going on the runway, and an important list of celebrities and artists typed by James that James would like to design for. The tone of the list was playful, ironic and effusive. There were as well glowing critics, basically eulogies. In this room, though most people do not linger in it, the most interesting information what the artist was available, and it gave anyone who wanted to look deeper into the motive and inspiration of him a lucid answer: genially eccentric, Charles James’ boldness and arrogance toward there led to his unceasing pursuit of perfection and the exploration of impossibility, which explained his surprising designs and the elaborate way of fabricating the costumes. As an exhibition of the Metropolitan museum, there were some commendable displaying methods in this exhibition indeed. The exhibition started with a theatrical opening. At the entrance, the world darkened down, and with the wall showing the name of the exhibition and a classic walking mannequin (a woman-shape body model) of James, the bright outer world and the dark inside world were clearly vided. There was as if a magical twilight moment, indicating the arrival of something brilliant in the darkness. After the prologue, I was almost brought into Sesame’s studio on 699 Madison Street by muslin samples of his gowns posing around his famous â€Å"butterfly’ sofa, recreating the scene of the studio and the salon of James. Inside the hall, the gowns were arranged in a spiral shape, going around his best- known masterpiece: Clover Leaf Ball Gown 1953. The x-ray analysis as well as the animation simulator explained the inner structure of the clothes by showing the involutes plastic bones and complicated drapes in the layers of fabric. The application of new technology treated fashion so scientifically —-as if a real piece of architecture—-that it gave even the most general audience a chance to think about the materialist word â€Å"fashion† in a whole new way. On the pads that showed the information of exhibits, a few hints about this sexual intentions of James’ designs by showing the costumes of inspiration from the Victorian time, without explaining the underlying meaning of the original design. Though implicit about the word â€Å"sexual†, Hess pictures purposefully gave the audience a clue to the intention but still left them room to think that what was truly beyond fashion beside the artsy structure, allowing their own interpretation. Deliberately, the exposition of the clothes revealed the museum’s respect to the master James, for his elaborate effort paid beneath the fabric. Furthermore, the exhibition’s respect was also to the audience, as the museum brought fashion back to the ground, accessible to a general audience, while it respect the individual thinking by leading the audience to think about what was truly beyond cushion instead of giving out a definite answer. Still, compare to the art value of the exhibits, the display of the exhibition was fairly not a highlight. The lighting in the main halls was a disaster. Firstly, the semi-dark lighting environment in the black hall was a click. Comparing to other costume exhibitions at the Met Museum, this technique was so widely used that this trick did not tell anything about the artist. It was even anti-characteristic. James had a preference for dark colors. However, the semi darkness created a hostile environment for the audience to see the details. Especially since flash was not allowed, without a professional camera, I could not capture any details of the dark coats and gowns beside their silhouettes. And since the photos could not be used as long-term documents, the educational function of the museum in this aspect was largely sacrificed. Additionally, the semi-darkness also brought a sense of heaviness to the costumes. To illustrate, one of the best-known gown called â€Å"Swan† was named for the lightness of the peplum, which was composed of six layers of delicate chiffon. Nonetheless, with the lighting, I did not see the eighteens at all because the semi-dark casting light could not go through and light up the costume like natural light. Therefore, what I saw was an impenetrable broom instead of the airy dress, which was not influenced by gravity. Overall, the display was mismatched with the costumes, even though there were few novel techniques applied. The masterpieces were as if sunk in a Jar platitude. The title Beyond Fashion made me feel confused and enthralled when I first stepped in that dark hall, yet I felt illuminated and preoccupied when I stepped back to the bright outer world. The exhibition successfully pushed one to think about the essence beyond appearance by presenting the costumes in different layers and angles. An audience could feel the question of what was beyond fashion throughout the exhibition. The magic would not happen until the very end, where one could confidently give out his/her own answer, like the answer to fifth round of questioning of my writing teacher. As for me, beyond fashion, beyond structure, beyond male chauvinism and beyond all his drama, I saw an aloof, fastidious, nostalgic, self- involved, narcissistic yet incredibly serious and genius about fashion soul of this master, this man. How to cite Beyond Beyond Fashion, Papers

Capital Structure and Global Diversification

Question: Discuss about the Capital Structure and Global Diversification. Answer: Introduction: Financial leverage tends to be at higher side when business organization borrows huge long term funds from outside stakeholders as compared to their internal funds. Financial leverage or capital gearing denotes use of debt in the business operations. In this case, Facebook Inc and Linked In have been used for the analysis of implication on EPS of higher debt taken. High leverage shows higher amount of debt is obtained for business operations and it also denotes higher interest expenses (Salama and Putnam, 2015). When EBIT is at higher side then EAT will also be at higher side and vice-versa. In this case, both companies has financial leverage and both are geared companies, Facebook Inc has negative EBIT. Degree of financial leverage measures change in EPS when there is increase or decrease in earnings before interest and tax. Three elements of degree of financial leverage are outstanding shares, interest expenses and earnings before interest and tax (Singh and Faircloth, 2015). Earnings per share are directly related to earnings before interest and tax of the reporting period as it can be analyzed in present case of Facebook Inc and Linked In. In this case, Facebook is having EPS of ($ 1.29) because its EBIT is in negative also i.e. ($ 150,942,000). On the other hand, EPS of Linked In is $ 1.31 and its EBIT is $ 6,225,000,000. This shows that EPS of companies is directly related to its EBIT. References Salama, F., Putnam, K. (2015). Accounting conservatism, capital structure, and global diversification. Pacific Accounting Review, 27(1), 119. Singh, M., Faircloth, S. (2015). The impact of corporate debt on long term investment and firm performance. Applied Economics, 37(8), 875-883.