Functions Of Operating Systems

Functions Of Operating Systems Operating system is the program, which usually installed into the computer by a boot program. It manages all other programs in computer. Sometimes it also called as OS. These programs also called applications. The application uses the operating system by making requests for services through API (Application Program Interface). Sometimes users can directly use the operating system through GUI (Graphical Users Interface) or command language. Operating system is a program that allows you to work with hardware and software on your computer. Basically, there are two ways to use operating system on your computer. The two ways are as follows: 1. for ex., DOS, you type a text commands and computer give respond to you according to your command. This is called command line operating system. 2. With a GUI (Graphical User Interface) operating system (ex., windows). You relate with the computer through graphical user interface with pictures and buttons by using the mouse and keyboard. An operating system is software that enables the computer hardware to communicate and function with the computer software. Most desktop or laptops come or preloaded with Microsoft windows. Macintosh computers are loaded with Mac OS. Many computers or servers use the Linux or UNIX operating system. The operating system is the first thing loaded on the computer- without operating system (OS) the computer is useless and we cant do any functions on it. Now at the moment, operating systems have started to use OS in small computers as well. If we mess with electronic devices, we can see the operating system in many of the devices, which we use every day, from mobile phone to wireless access points. The computer use in these little devices is more powerful and they can easily run operating system and applications of it. The main aim of the operating system is to organize and control the hardware and software so that the device behaves in a flexible way. All computers does not having operating systems, for ex the computer that controls the microwave oven in your kitchen, does not need operating system to work because it has only one set of job to do. The most common window operating systems developed by Microsoft. There are other hundreds of other operating system available for special-purpose applications, including manufacturing, robotics, and mainframes and so on. FUNCTIONS OF OPERATING SYSTEM As we talk about operating system, it does two things at the simplest level: It manages the hardware and software resources of the system. In desktop computers these resources such as processors, memory disk space and more. It provides stable, constant way of applications to deal with the hardware without having the full details of the hardware. The first task, managing the hardware and software resources and it is very important. The various programs and input methods complete for the attention of the Central Processing Unit (CPU) and demand memory, storage and input/output (I/O) bandwidth for their own purposes. In this capability the operating system plays the good role of a good parent, and making sure that each application gets the necessary resources while playing efficiently with all other applications, as well as it plays good role of husbanding the limited capacity of the system. The second task is mainly important if there is more than one of a particular type of computer using the operating system. A constant application program interface (API) allows software to write an application on one computer and have a confidence to write a same application on other computer of the same type, even if the sum of the memory or the quantity of storage is different on the two machines. When computer is unique, an operating system can make sure that applications continue to run when hardware upgrades and updates occur. This is because of the operating system not the applications. One of the challenges facing developers is keeping their operating systems flexible enough to run hardware from the thousands of vendors manufacturing computer equipment. TYPES OF OPERATING SYSTEM Within the family of operating system, there are four types of operating system based on the types of computers. The categories are: Real-time operating system (RTOS) Real time operating system used to control machinery, scientific instruments and industrial system. An RTOS hardly have little user-interface capacity, and no end-user utilities. A very important part of an RTOS is managing the property of the computer so that particular operations executes in same amount of time. In a complex machine, having a part move more quickly just because system resources are available may be just as catastrophic as having it may not move at all because the system is busy. Single-user, single task As the name implies, this operating system is designed to manage the computer so that one user can do one thing at a time. The Palm OS for Palm handheld computers is good example of modern single user, single task operating system. Single-user, multi tasking This is very popular operating system; most people use this operating system on their desktop and laptop today. Microsofts Windows and Apples Mac OS are both example of single user, multi tasking operating system. It will let a single user have several programs in operation at same time. For example, it is possible in Windows to write a not in Microsoft word while downloading a file from the internet while printing the text on e-mail message. Multi- user A multi user operating system allows many users to take advantage of the computer resources simultaneously. The operating system make sure that the requirements of the various users are balanced, and each of the program they are using has sufficient and separate resources so that the problem with one users doesnt affect the community of the users. UNIX, VMS and main frame operating systems, such as MVS, are the examples of the operating systems. Its important to differentiate multi user operating system and single user operating system that support networking. Windows 2000 can support hundreds or thousands of networked users.

American Square Dance

At one time, the square dance was omnipresent in rural America; but its golden age, if ever there was one, has passed. Today, it is noteworthy when a folklorist discovers a community with an unbroken tradition of square dancing, if only because it piques our interest as to why such practices endure in one place and not in another. Contemporary contexts for traditional square dance are, in fact, quite plentiful; but they persevere as isolated phenomena, largely hidden from the consciousness of the mainsream.The American square dance is the subject of a huge body of choreographic data, most of which was generated by dance educators and recreational specialists whose concerns lay apart from those of folklorists or ethnographers. Some of this descriptive material, especially some works published before World War II, are collections of regional repertoires and even, in a few cases, of localized traditions. Much of the dynamism of square dancing comes from turning motions, including rotati ons around a vertical axis and revolutions around the floor.In square dancing many rotations are energetic turns executed by two dancers together (not always opposite sex couples), but there are also more languid arcs circumscribed by enclosed circles of between three and eight dancers. In square dancing, women are often asked to make singular rotations or twirls, according to, on the one hand, traditional embellishments or, on the other hand, set variations taught by the local polka instructors. Most of the time, square dancers only step forward or stand in place.In a few instances, walking backward is called for, and a dancer will occasionally have to take a sideways step to the right or left. To accomplish this dizzying variety of spins and turns requires the manipulation of other parts of the body. The entire trunk is usually kept aligned with the line of gravity (and for all couple dances in general). It should also be noted that in the square dance walk, the dancer’s ce nter of gravity is moved slightly forward over the balls of the feet when compared to the ordinary walk.The kinesthetic sensation for the dancer is to feel as if his chest is leading the rest of his body. Arm movements in square dancing are important, but only in the context of reaching out to and grasping another dancer. The dancer reaches forward to join hands in one of three ways with another dancer, reaches to the side to hook elbows or put an arm around the waist of an adjacent dancer, or uses both hands or arms to grasp a dancer of the opposite sex in one of several stylized holds. These are known as the â€Å"swing† or â€Å"ballroom†, â€Å"courtesy turn† and â€Å"promenade† positions.Robert Bethke discusses square dancing in contemporary commercial or public settings in the Northeast, while offering very little movement data except to note the infrequency of square dances on the program in proportion to couple dances performed to popular or coun try music. What Bethke attends to is the dress and decorum of the dancers, their general age, the instrumental makeup of the band and the musical styles performed the participants’ levels of intoxication and the dancers’ incompetence relative to the past.Bethke goes into great detail on the repartee between the band leader and the audience, providing texts of some of the leader’s jokes. The inquiry on the history of square dance was first motivated in 1977 by the puzzle of why the German community around Hoagland took as its own an Anglo-American dance form. The cultural choices a folk group makes are historically conditioned. In the year previous to the first appearance of The English Dancing Master, the English and the Dutch had agreed on the borders of their North American colonies.Besides the Confederation of New England to the north and New Amsterdam in the Hudson Valley, the New World also had settlements of Swedes on the Delaware River and growing English colonies in Maryland and Virginia. In another thirty years, the first German immigrants would arrive, and, as the French consolidated their hold on the West, the first European settlement would be established at the headwaters of the Maumee River, near the Miami Indian village of Kekionga, the present site of Fort Wayne, Indiana.In the mid-eighteenth century, when the longways English country dance form was firmly established as the most popular form in European ballrooms, English emigration to the thirteen American colonies was in full sway. Along with the immigrants, and as a part of the continuing trade with the mother country, came terpsichorean skills, repertoire and paraphernalia. Not even the American Revolution disrupted these choreographic connections. Square dancing became a vital activity in nearly every rural nook and cranny through the first half of the twentieth century.In 1926, Henry Ford published â€Å"Good Morning†: After a Sleep of Twenty-five Years, Old-f ashioned is Being Revived, adding to a growing revival of interest in square dancing and other related forms of traditional American dance. In the twenties in New England, with an assist from the open air museum at Old Sturbridge, there was a growing awareness of that region’s vital and unique repertoire of country dances or contras (as cited by Tolman and Page).Indeed, Grace Ryan, a physical education instructor at Michigan’s Central State Teachers College, pioneered with an instructional manual on Dances of Our Pioneers, featuring the â€Å"quadrilles or square dances† which she collected at community dances and from local callers (Ryan). These efforts helped spark a square dance boom that was well underway in the late thirties when Lloyd Shaw, a Colorado high school principal, began to collect western figures that he taught to his students in place of the international folk dances promoted by other educators.Shaw’s performing square dancers from the Ch eyenne Mountain School garnered a great deal of renown for their exhibitions; and Shaw’s fame spread farther when he published these figures in 1939 in Cowboy Dances, an oft-reprinted volume. Besides the considerable impact wielded by his clear representation of seventy-plus figures, Shaw also sketched for Americans his view of the path traveled by this widespread variegated dance form: that the western square dance, one of three regional types, derived from an intermingling of the New England Quadrille and the running set from the southern highlands.Due to the prevalence of visiting couple figures in both the southeastern and western traditions, Shaw asserted that â€Å"the mainstream, I believe, heads in the Kentucky Mountains† (Shaw 27-31). This became the standard account of square dance history that would preface a multitude of instruction manuals published in the forties and fifties. Shaw was not alone, in those early days of the revival, in granting special stat us to the Southeastern square dance. J. Olcutt Sanders prepared a â€Å"Finding List of Southeastern Square Dance Figures† in 1942.He regarded the Southeastern square dance as a separate genre, referring to it variously as â€Å"the running set† and â€Å"the big set†, which could be characterized on the basis of internal evidence (Sanders 266). A decade later Elizabeth Burchenal extended this interpretation by crediting the supposed isolation of the southern highlands for the development of â€Å"our most indigenous dances,† including figures which â€Å"cannot be identified as transplantations† (Burchenal 20). By contrast, the Northeastern square dance, also called the New England quadrille, smacked of Gesunkenes Kulturgut.This was a cultural form that had trickled down to the folk from the cotillions and quadrilles of polite society in Europe and America in the eighteenth and nineteenth centuries. Then, as the twentieth century dawned, the Weste rn square dance emerged as a composite of movements and calls from both the Southeastern and Northeastern traditions blended with newly invented figures. Springing from America’s pervasive frontier experience, the Western idiom embodied the traits of practicality and inventiveness that historian Turner offered as keys to the American character (Turner 61).Thus the Western square dance was too new and too recreational to be regarded by folklorists as a survival of the archaic rituals hypothesized as the ultimate source of folk dance. The social symbolism school of interpretation takes in a much narrower scope, focusing on the local community rather than on national culture. David Winslow (1972) argued that the square dance is a set of â€Å"highly ritualized behavior patterns and mental processes† that help maintain social solidarity.Drawing heavily on sociologist Emile Durkheim, Winslow showed that the square dance served three social functions: (1) a cohesive function that imparts a group consciousness or sense of community, (2) a revitalizing function that â€Å"helps the group to renew the sentiment it has of itself and of its unity,† and (3) a euphoric function that provides â€Å"a pleasant feeling of social well-being† (Winslow 252-261). Not only the social interaction that takes place at a dance event, but also the square dance itself helps maintain and revitalize the interpersonal networks that constitute a rural community.For each category of the social structure represented at an event-couples, genders and the entire assembly, the â€Å"dancing behavior can be seen as expressive of the solidarity of that social unity. † The pervasive circle motif found at all structural levels of the square dance is a choreographic expression of the basic principles of equality of participation and social unity that are cultural ideals for this dancing. The basic square dance form found in New York, Pennsylvania and Hoagland, Indian a alike requires four couples for each square set. With each couple forming one side of the square.Each dance comprises two alternating parts: the break and a distinctive figure. In the break, a formulaic combination repeated from dance to dance, all eight dancers in the set participate simultaneously in equivalent and complementary roles: â€Å"circle left all eight,† â€Å"allemande left your corner,† â€Å"grand right and left around the ring,† and â€Å"meet your partner and promenade home. † The distinctive figure, unique to each discrete dance, is led by every couple in turn as they visit around the set and dance a series of formulaic moves with each of the other couples.At the end of each couple’s performance of the figure, and at the end of each repeat of the break, couples end up in their â€Å"home† or starting position. This structure, as it is danced in Pennsylvania, encapsulates well the comfortable fit between cultural form and social organization. Bert Feintuch discovered that the same basic form was used in domestic square dance events in south central Kentucky before the 1930s. According to his interpretative model, the stylized movements in the four-couple square dance affirmed both the pragmatic primacy of the couple in the dance and the symbolic primacy of the couple in the community.Thus he concluded that neighbors â€Å"symbolically acted out their norms of community† through dances â€Å"in which couples were the basic unit and their social networks – their neighborhoods – were represented as a bound unit, the square† (Feintuch 65). Square dancing, which emphasizes equality and reciprocity, is a local tradition actively treasured by many. The square dance has a long history as the symbolic action of choice (a sign) strategically called on to encompass (an interpretant) the emergent community (an object). Works Cited: Bethke, Robert D. â€Å"Old-Time Fiddling and Socia l Dance in Central St. Lawrence County.† New York Folklore Quarterly 30 (1974): 163-83. Burchenal, Elizabeth. â€Å"Folk Dances of the United States: Regional Types and Origins. † International Folk Music Journal 3 (1951): 18-21. Damon, Stephen Foster. The History of Square Dancing. Barre, MA: American Antiquarian Society, 1955. Feintuch, Burt. â€Å"Dancing to the Music: Domestic Square Dances and Community in Southcentral Kentucky (1880-1940). † Journal of the Folklore Institute 18 (1981): 49-68. Jackson, Frederick. â€Å"The Significance of the Frontier in American History. † Frontier and Sectino: Selected Essays of Frederick Jackson Turner. Ed. Ray Allen Billington.Englewood Cliffs, NJ: Prentice-Hall, 1961. 37-62. Ryan, Grace L. Dances of Our Pioneers. New York: A. S. Barnes & Co. , 1926. Sanders, J. Olcutt. â€Å"Finding List of Southeastern Square Dance Figures. † Southern Folklore Quarterly 6 (1942): 263-75. Shaw, Lloyd. Cowboy Dances: A Coll ection of Western Square Dances. Caldwell, ID: Caxton Printers, 1939. Tolman, Beth, and Ralph Page. The Country Dance Book: The Best of the Early Contras and Squares. Brattleboro, VT: Stephen Greene Press, 1976. Winslow, David John. â€Å"The Rural Square Dance in the Northeastern United States: A Continuity of Tradition. † University of Pennsylvania, 1972.

12 Angry Men †the Definition of a Leader Essay

Yvette Perkins MBA-6620/Paper 1 The definition of a leader can be expressed in many ways. In reference to the movie 12 Angry Men, I have come to agree with the quote of our sixth President John Quincy Adams which states â€Å"if your actions inspire others to dream more, learn more, do more, and become more, you are a leader. † (Smith, 14) In this movie the main character Davis played by Henry Fonda was able to influence 11 other jurors by introducing the concept of possibility. Davis exemplified leadership through his behavior, thinking, and communication skills in his efforts to persuade the other jurors. To begin, Davis’ behavior displayed positive energy throughout the entire movie. Upon entering the room he remained silent and observant of the other jurors. From our discussion packet I have learned an important success secret, which is to be â€Å"quick to listen, slow to speak, slow to anger. † (Smith, 31) This method proved to be meaningful through his actions. He was able to keep his composure during the arguments of the jurors. In order to become an effective leader, your passion, confidence, and determination must be expressed through your body language, as did Davis. In addition to that, I have come to learn that â€Å"thinking is the deliberate exploration of experience for a purpose. † (Smith, 3) In my opinion, Davis followed the trinity thinking model. In pursuit of his purpose he used direction by asking the other juror â€Å"is it possible†. He used perception by being observant of his surroundings and the others that surrounded him. Finally, he used lateral thinking by assessing the possibilities. Davis stood by his assumption that there was reasonable doubt in his mind. I believe that he saw the evidence as â€Å"EBNE†, it was excellent nut not enough. (Smith, 7) In his exploration of possibilities he took the approach of two Greek philosophers. One was Socrates and the approach through question and two Aristotle the approach through box logic. In this case Davis thought outside the box. Last but not least, communication skills are crucial to becoming an effective leader. As we have learned from our discussion on how the brain flows into perception, people are happy with stability and are reluctant to change their ways. Well, in the movie some jurors were reluctant to change their perception of the case, which we also know as â€Å"blocked by openness†. (Smith, 19) Davis try’s to challenge their perception by using, manipulating, and managing the facts presented in the case. By asking questions he was able to uncover insights and new evidence which lead to the other jurors changing their votes from guilty to not guilty. To conclude, â€Å"It is what you cause to happen in the mind of a listener that makes you interesting†. Smith, 19) I truly believe that the hardest obstacle of life is getting people to think what you think and fighting human nature. However, Davis has showed us that it is possible. According to the five stages of thinking from the packet, the stage of possibility is the generative stage. This stage is where we create possible solutions and approaches. My definition of a leader is someone who analyzes information, challenge the facts, and initiates change; which was demonstrated by Henry Fonda in the movie 12 Angry Men.

Analysis Of `` Annabel Lee By Edgar Allan Poe - 1235 Words

But we loved with a love that was more than love (Poe Line 9). Love is one of the most important things to have in life, whether it is with family, friends, or that special someone, but that does not mean it will be perfect because everyone has problems. Love can be complicated; it may not be defined so easily or fit the normal standard of love. Sometimes love comes with a desire or an obsession. The inspiration of Annabel Lee by Edgar Allan Poe was inspired by the women that had passed away in his life, but since Poe had written the poem after his wife s death, it is probably more about her. In Porphyria s Lover by Robert Browning, there was no real inspiration except the fact he was just very into dramatic love. Robert Browning in the impulsive Porphyria s Lover and Edgar Allan Poe in the somber Annabel Lee explore the theme of complicated love all throughout their poems and also their use of visual imagery, metaphors, and similes. Edgar Allan Poe was born January 19, 1809, in Boston Massachusetts. At the young age of three years old, Poe lost his parents in a sudden untimely death. After the loss of his parents, Poe was adopted by Mr. and Mrs. John Allan. Poe was able to attend some of the best schools and was evenly accepted into the University of Virginia in 1825. In 1836, Poe married Virginia, his twelve-year-old cousin. But after 12 years of marriage Virginia, his wife died of tuberculosis in 1847, two years later after her death, Poe passedShow MoreRelatedAnalysis Of Annabel Lee By Edgar Allan Poe Essay1989 Words   |  8 Pageslove one is gone. In â€Å"Annabel Lee† by Edgar Allan Poe the main character has becomes completely lost in anguish and cannot seem to move on, whereas in â€Å"A valediction; Forbidding Mourning† by John Donne the narrator is accepting of the goodbye because he knows that spiritually they and their love will always be together. 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ThereRead MoreAnalysis Of Edgar Allan Poe s The Raven And Annabel Lee884 Words   |  4 PagesWhen studying Edgar Allan Poe’s The Raven and Annabel Lee, the reader is struck by many similarities and differences. Both focus on the sorrow and loss of losing a loved one. Both deal with the heartache and grief associated with the search for understanding why the loss occurred. Both have an almost gothic, sad, unearthly feel to them. However, while the theme of The Raven and Annabel Lee is very similar, Poe uses a ver y different tone in the two poems to portray his feelings. The difference inRead MoreEssay on Edgar Allan Poe: Youth, Beauty, and Death697 Words   |  3 PagesThe relationship with Edgar Allan Poe and the woman in his life – his mother, adoptive mother, and wife, Virginia Clemm – were disastrous (DiLorenzo). Yet, they provided the inspiration for some of the best gothic pieces to date. Poe often combines the romantic, long lasting love in fairy tales and the hard truth of real life. Such elements are portrayed within â€Å"Annabel Lee† and â€Å"Ulalume†. His poems refrain from creating a false paradise, and instead represent an allegory of his tribulations – theRead MoreLiterary Devices Used By Edgar Allan Poe986 Words   |  4 Pagespoet that uses such intricate writing in his poems is Edgar Allan Poe. Edgar Allan Poe uses several different literary devices in his major 1849 poem Annabel Lee. In his text he incorporates theme with imagery, sym bolism, and form. These literary devices help lead the audience to the understanding of the overall meaning of the poem. Edgar Allan Poe s use of symbolism allows for the audience to understand how this gentleman feels about Annabel Lee. In the poem, the author uses symbolism when the narratorRead MoreWhy Should We Care?1748 Words   |  7 PagesWhy Should We Care?: Edgar Allan Poe â€Å"Few creatures of the night have captured [reader’s] imagination[s] like [Edgar Allan Poe]† (â€Å"Vampires†). Poe has fascinated the literary world since he first became known for writing in 1829, when he was just twenty years old (Chronology†). While he is widely known for exploring the macabre, his work is controversial because of its psychologically disturbing nature. Edgar Allan Poe is worth examining as an author because his many contributions to the literaryRead More An Analysis of Edgar Allan Poes Annabel Lee Essay1524 Words   |  7 PagesAn Analysis  of  Edgar Allan Poes Annabel Lee In life, as in death, Edgar Allan Poe evoked a feeling of sympathy from his readership.   Those who knew him well considered him deep, mysterious and contemplative; thus, coupled with the copious tragedies he suffered throughout his life, especially the loss of his first wife Virginia, it is easy to understand how the author brings out the theme of Annabel Lee through personal/setting imagery, repetition of words and rhythm/rhyme.   AnnabelRead MorePoes Poetry Essay1269 Words   |  6 PagesWith fascinating rhyme scheme and an enthralling setting, Edgar Allen Poe draws readers into his dreadfully frightening poems. His poems are best known for being extremely grim and macabre, but with a hint of Romanticism in them. â€Å"The Raven† and â€Å"Annabel Lee† depict Romanticism being described by feelings and imagination. These poems reflect the reality that the author is dealing with different views in the way lovers grieving and the way of dealing with death. He is also able to make two poems that