Carpet Recovery Recycling-Six Sigma Methodolgy Essay

Carpet Recovery Recycling-Six Sigma Methodolgy - Essay Example and more recently attentions have shifted to service environments. 31 Six Sigma is not just another management catch phrase. Rather, it is a highly disciplined process that helps a business develop and deliver near perfect products and services. By accurately measuring the number of defects in a process, you can systematically eliminate them. Achieving Six Sigma indicates you have less than four defects per million transactions. Needless to say how important it is. Just imagine at three sigma you have at least 54,000 defective drug prescriptions a year, more than 40,500 newborn babies accidentally dropped in the hospital each year and unsafe drinking water almost two hours each month. Comparing with above mentioned at Six Sigma quality level we would get only one wrong drug prescription, in 25 years, three newborn babies dropped in 100 years and unsafe drinking water only one second every 16 years 31 Six Sigma goes beyond small point improvements in product quality to the very fabric of the organization as a whole. It is a process for both improving performance and ensuring consistency in the delivery of a product or service. Most importantly, Six Sigma focuses on the customer. It continuously and rigorously measures those elements the customer identifies as "critical-to-quality." In other words, importance of Six Sigma is in its ability to transform abstract business scenarios into tangible and fact based situations thus minimizing guessing in solving business issues. 32 Bob Galvin former CEO of Motorola stated that the lack of initial investment in the non manufacturing areas of the business over four years was a blunder that cost the business over 5 million dollars (Basu & Write, 2003, p43). However, organisations have implemented six sigma initiatives in transactional frameworks with success- testimonial for six sigma triumphs in services range from American Express and PriceWaterHouseCoopers to local NHS

John Miltons Paradise Lost Essay -- essays papers

John Miltons Paradise Lost John Milton’s Paradise Lost is a religious work, and is in many ways an autobiography of Milton’s own life. John Milton was raised catholic and converted to Protestantism. Later in life he became a Calvinist. His strong Calvinists beliefs can be seen throughout Paradise Lost. It was Milton’s desire to be a great poet, but he did not believe that was his purpose in life. He believed that he had been put here to serve God, and that any thing that he wrote should be in one way or another related to that purpose. In this way Milton felt that in writing Paradise Lost not only was he writing the epic poem he had always wanted to, but also fulfilling his godly purpose here on earth. At the time that Milton was writing Paradise Lost he was a prisoner in his home and to his blindness. He had been involved in the rebellion with Cromwell when the King had been executed and the monarchy had been run out of England. When Cromwell died and the King returned to power he was forced to go into hiding and no longer had any rights of an English man. If he had come out of hiding he most likely would have been executed for treason. He had also lost his sight completely and was being taken care of by his daughters. The subject of Paradise Lost is man’s disobedience and how disobedience leads to the loss of happiness. He is dealing not only with the disobedience of Adam, Eve, and Satin, but also with his own disobedience. Different autobiographical issues are dealt with through Adam and Satin. Adam seems to represent his sins against God, which led to his blindness, and Satin could represent his disobedience to the King. The first book deals with the war in heaven and the devils being sent out into ... ...ventually die for their sins. Being kicked out of the garden also has some autobiographical significance in the life of Milton. He loved gardens and both of his punishments, blindness and being imprisoned in his home made it impossible for him to enjoy them. In the last book Michael shows Adam what is to come for the human race. This gave Adam some hope for the future and makes it easier for him to carry on after falling from God. Adam sees that much good will come from his sin in the end. Bibliography: Works Cited Masson, David. Afterword â€Å"A Brief Life of Milton† Paradise Lost. By John Milton. Ed. Scott Elledge. New York: W.W. Norton & Company, 1993. Milton, John. Paradise Lost. Ed. Scott Elledge. New York: W.W. Norton & Company, 1993. Wagenknecht, Edward. The Personality of Milton. Norman, Oklahoma: University of Oklahoma Press, 1970. John Miltons Paradise Lost Essay -- essays papers John Miltons Paradise Lost John Milton’s Paradise Lost is a religious work, and is in many ways an autobiography of Milton’s own life. John Milton was raised catholic and converted to Protestantism. Later in life he became a Calvinist. His strong Calvinists beliefs can be seen throughout Paradise Lost. It was Milton’s desire to be a great poet, but he did not believe that was his purpose in life. He believed that he had been put here to serve God, and that any thing that he wrote should be in one way or another related to that purpose. In this way Milton felt that in writing Paradise Lost not only was he writing the epic poem he had always wanted to, but also fulfilling his godly purpose here on earth. At the time that Milton was writing Paradise Lost he was a prisoner in his home and to his blindness. He had been involved in the rebellion with Cromwell when the King had been executed and the monarchy had been run out of England. When Cromwell died and the King returned to power he was forced to go into hiding and no longer had any rights of an English man. If he had come out of hiding he most likely would have been executed for treason. He had also lost his sight completely and was being taken care of by his daughters. The subject of Paradise Lost is man’s disobedience and how disobedience leads to the loss of happiness. He is dealing not only with the disobedience of Adam, Eve, and Satin, but also with his own disobedience. Different autobiographical issues are dealt with through Adam and Satin. Adam seems to represent his sins against God, which led to his blindness, and Satin could represent his disobedience to the King. The first book deals with the war in heaven and the devils being sent out into ... ...ventually die for their sins. Being kicked out of the garden also has some autobiographical significance in the life of Milton. He loved gardens and both of his punishments, blindness and being imprisoned in his home made it impossible for him to enjoy them. In the last book Michael shows Adam what is to come for the human race. This gave Adam some hope for the future and makes it easier for him to carry on after falling from God. Adam sees that much good will come from his sin in the end. Bibliography: Works Cited Masson, David. Afterword â€Å"A Brief Life of Milton† Paradise Lost. By John Milton. Ed. Scott Elledge. New York: W.W. Norton & Company, 1993. Milton, John. Paradise Lost. Ed. Scott Elledge. New York: W.W. Norton & Company, 1993. Wagenknecht, Edward. The Personality of Milton. Norman, Oklahoma: University of Oklahoma Press, 1970.

Collections INF

This subject focuses on the provision of appropriate Information resources for organizations and communities, with particular emphasis on the hardcopy and electronic materials required to achieve the goals of libraries, Information agencies and related organizations.It will also address the concept of tacit and explicit knowledge collections and the role of institutional repositories. Attention is given to the assessment of needs, selection, acquisition, evaluation, deselecting of resources and consortia, and issues such as policy formulation, budgeting, cooperative resource provision, outsourcing, preservation, electronic publishing and space planning.Introduction INFIX 0 focuses on the resources that librarians, archivists, record keepers and other information professionals make available and accessible to their clients, with reticular emphasis on how these materials are identified, selected, acquired, evaluated and removed when no longer of value. In the past, subjects of this kin d have been concerned mainly with printed materials, but in more recent years digital objects (any digital file of whatever type – a word document, email, database, video clip and so on, is commonly called an ‘object') have become at least as important as print materials.In the weeks ahead both types of materials will receive considerable attention. As you will see, the subject covers a lot of territory. This means a lot of org, and your task will probably be a lot easier and more palatable if you are able to work at a steady pace through the modules in Interact and associated readings, rather than neglecting the subject for two or three weeks and then attempting to absorb several topics in a day or two. If you do work at It fairly steadily, you should not find the concepts particularly difficult to absorb and understand.But the relevant area Is rapidly developing, largely because of the revolution In electronic resources that has been proceeding for some years. It does require an openness to new Ideas. It Is recommended that you supplement what you read here by examining recent Issues of journals and by monitoring Internet sites, and If you find yourself working In this field you really will need to make a conscious effort to keep up with new developments.However, this subject does aspire to provide a self-contained Introduction at a basic level. The subject now before you is a varied one with many possibilities for further study student who found nothing at all of interest. We hope you find this an interesting and stimulating subject, providing broad brush contexts and paradigms within which the ore practical focus exists. Both aspects are important to understand the work and how it fits in the broader information environment.Your Subject Outline The University, Faculty and School policies, regulations and procedures frame your studies detailing your rights and expectations, your requirements and the procedures necessary for successful Charles S trut University Subject Outline INFANT 201230 W D-30 January 2012-version 1 page 2 of 15 navigation through your studies. It is important for you to read all this information and clarify any issues with your Subject Coordinator.Faculty and School policies are published online in the Faculty/School Folio. Http://www. CSS. Deed. AU/faculty/educate/ folio/folio. HTML Your subject coordinator Robert Pym Academic biography Bob Pym has worked in libraries and related cultural institutions for more than 20 years. From 1993 until early 2005, he worked for the National Film and Sound Archive in Canberra, latterly as the manager of their Collection Development area.During this time Bob taught on a casual basis at the University of Canberra and Canberra Institute of Technology. His teaching interests include: collection development – leslies, selection and retention; preservation of digital materials; popular culture and libraries; and audio visual materials. Bob's PhD is in the area of Australian popular fiction and its preservation and he is interested in researching the role of popular culture materials and their place in documenting society.Subject author(s) John Kennedy, Bob Pym and Sue Terry Learning objectives – be able to discuss critically the means of assessing information needs of communities and organizations; – be able to participate in the development of an information resources policy; – be able to provide an overview of the range of information resources available; – demonstrate an appreciation of issues relating to the selection and deselecting of information resources; – display an understanding of the nature of acquisitions work as it relates to information resources in traditional and digital form and the formation of knowledge- based collections; – be able to outline the development of virtual information resources and participate in an informed consideration of the merits of such resources; – d emonstrate an understanding of the role of consortia in the provision of information resources; – demonstrate an understanding of how information agencies represent themselves in a digital world; – have developed a clear understanding of the role of institutional repositories and the policies and practices necessary to ensure their success; and – be able to discuss critically managerial issues such as censorship, budgeting, outsourcing and cooperative resource provision. All CSS courses leading to the award of Bachelor degree will foster in their graduates the attributes set out below. CSS graduate attributes build students' capacity to contribute to their community and to the wider society.

Forming Plural Nouns in Italian

As you know, all nouns or sostantivi in Italian have an implicit gender—masculine or feminine, depending on their Latin root or other derivation—and that gender, together with their number—whether they are singular or plural—colors nearly everything else in the language, except, perhaps, for some verb tenses. Of course, it is essential that you learn which nouns are feminine or masculine—or how to recognize them—and how to correctly make a singular noun into a plural. How Does One Know? Mostly—and you will see that there are some exceptions—nouns ending in -o are masculine and nouns ending in -a are feminine (and then there is the vast world of sostantivi in -e, which we discuss below). You know about -a and -o from proper names, if nothing else: Mario is a guy; Maria is a girl (though there are some exceptions there, too). Vino, gatto, parco, and albero are masculine nouns (wine, cat, park, and tree); macchina, forchetta, acqua, and pianta are feminine (car, fork, water, and plant). Interestingly, in Italian most fruits are feminine—la mela (the apple), la pesca (the peach), loliva (the olive)—but fruit trees are masculine: il melo (the apple tree), il pesco (the peach tree), and lulivo (the olive tree). This is not something you or anyone else decides or chooses: It just is. Singular feminine nouns are accompanied by the definite article la, and singular masculine nouns by the definite article il or lo (those that get lo are those that begin with a vowel, with s plus a consonant, and with gn, z, and ps), and when you pluralize the noun, you must also pluralize the article: la becomes le, il becomes i, and lo becomes gli. The article, together with a series of other parts of speech in a sentence such as adjectives and pronouns, tell you if a noun is masculine or feminine. Alternatively, you need to look it up. Pluralizing Masculine Nouns Ending in -O Regularly, masculine nouns ending in -o become, in the plural, masculine nouns ending in -i. Singolare Plurale l(o)'amico gli amici the friend/friends il vino i vini the wine/wines il gatto i gatti the cat/cats il parco i parchi the park/parks l(o)'albero gli alberi the tree/trees il tavolo i tavoli the table/tables il libro i libri the book/books il ragazzo i ragazzi the boy/boys -Co to -Chi and -Go to -Ghi Note that amico becomes amici, but that is actually an exception (together with medico/medici, or doctor/doctors). In fact, most nouns that end in -co take -chi in the plural; most nouns that end in -go take -ghi in the plural. The insertion of the h keeps the hard sound in the plural. Singolare Plurale il parco i parchi the park/parks il fuoco i fuochi the fire/fires il banco i banchi the desk/desks il gioco i giochi the game/games il lago i laghi the lake/lakes il drago i draghi the dragon/dragons Pluralizing Feminine Nouns Ending in -A Regular feminine nouns that end in -a generally take an  -e ending in the plural. With them, the article la changes to le. Singolare Plurale l(a)'amica le amiche the friend/friends la macchina le macchine the car/cars la forchetta le forchette the fork/forks l(a)'acqua le acque the water/waters la pianta le piante the plant/plants la sorella le sorelle the sister/sisters la casa le case the house/houses la penna le penne the pen/pens la pizza le pizze the pizza/pizzas la ragazza le ragazze the girl/girls -Ca to -Che and -Ga to -Ghe Feminine nouns in -ca and -ga pluralize for the most part to -che and -ghe: Singolare Plurale la cuoca le cuoche the cook/cooks la banca le banche the bank/banks la musica le musiche the music/musics la barca le barche the boat/boats la droga le droghe the drug/drugs la diga le dighe the dam/dams la collega le colleghe the colleague/colleagues -Cia to -Cie/-Gia to -Gie and -Cia to -Ce/-Gia to -Ge Beware: Among female nouns there are some that end in -cia and -gia that pluralize in -cie and -gie— la farmacia/le farmacie (the farmacy/farmacies)la camicia/le camicie (the shirt/shirts)la magia/le magie (the magic/magics) —but some lose the i in the plural (this happens generally if the i is not needed to maintain the words accenting): la lancia/le lance (the spear/spears)la doccia/le docce (the shower/showers)larancia/le arance (the orange/oranges)la spiaggia/le spiagge (the beach/beaches) Again, there is nothing wrong with looking up a plural while you are committing your new vocabulary to memory. Pluralizing Nouns Ending in -E And then there is a very large group of Italian nouns that end in -e that encompasses both masculine and feminine nouns, and that, regardless of gender, pluralize by taking the ending -i. To know whether a word that ends in -e is feminine or masculine you can look at the article, if you have one available, or other clues in the sentence. If you are just learning a new noun in -e, you should look it up to find out. Some are counterintuitive: fiore (flower) is masculine! Maschilesing/plur Femminilesing/plur il mare/i mari the sea/seas l(a)'arte/le arti the art/arts l(o)'animale/gli animali the animal/animals la neve/le nevi the snow/snows lo stivale/gli stivali the boot/boots la stazione/le stazioni the station/stations il padre/i padri the father/fathers la madre/le madri the mother/mothers il fiore/i fiori the flower/flowers la notte/le notti the night/nights il bicchiere/i bicchieri the glass/glasses la stagione/le stagioni the season/seasons il colore/i colori the color/colors la prigione/le prigioni the prison/prisons Within this group it is helpful to know, for example, that all words ending in -zione are feminine: la nazione/le nazioni (the nation/nations)l(a)attenzione/le attenzioni (the attention/attentions)la posizione/le posizioni (the position/positions)la dominazione/le dominazioni (the domination/dominations) Male/Female Variations Within -O/-A Endings Note the ragazzo/ragazza nouns in the tables above: There are many such nouns that have a feminine version and a male version with a mere change of the o/a ending (and, of course, the article): Maschilesing/plur Femminilesing/plur l(o)'amico/gli amici l(a)'amica/le amiche the friend/friends il bambino/i bambini la bambina/le bambine the child/children lo zio/gli zii la zia/le zie the uncle/uncles/aunt/aunts il cugino/i cugini la cugina/le cugine the cousin/cousins il nonno/i nonni la nonna/le nonne the grandfather/grandfathers/grandmother/grandmothers il sindaco/i sindaci la sindaca/le sindache the mayor/mayors There are also nouns that are identical in the singular for male and female (only the article tells you the gender)—but in the plural change ending to suit the gender: Singolare (masc/fem) Plurale(masc/fem) il barista/la barista the bartender i baristi/le bariste the bartenders l(o)'artista/la artista the artist gli artisti/le artiste the artists il turista/la turista the tourist i turisti/le turiste the tourists il cantante/la cantante the singer i cantanti/le cantanti the singers l(o)'abitante/la abitante the inhabitant gli abitanti/le abitanti the inhabitants l(o)'amante/la amante the lover gli amanti/le amanti the lovers Male/Female Counterparts in -E There are also male nouns in -e that have similar female counterparts: lo scultore/la scultrice (the sculptor masc/fem)l(o)attore/la attrice (the actor masc/fem)il pittore/la pittrice (the painter masc/fem) When they pluralize, they and their articles follow normal patterns for their genders: gli scultori/le scultrici (the sculptors masc/fem)gli attori/le attrici (the actors masc/fem)i pittori/le pittrici (the painters masc/fem) Strange Behaviors Many, many Italian nouns have eccentric ways of pluralizing: Masculine Nouns Ending in -A There are a number of masculine nouns that end in -a and pluralize in -i: il poeta/i poeti (the poet/poets)il poema/i poemi (the poem/poems)il problema/i problemi (the problem/problems)il papa/i papi (the pope/popes) Masculine Nouns in -O That Pluralize in the Feminine These pluralize in what appears to be a singular feminine with a plural article: Il dito/le dita (the finger/fingers)Il labbro/le labbra (the lip/lips)Il ginocchio/le ginocchia (the knee/knees)Il lenzuolo/le lenzuola (the sheet/sheets) Il muro (the wall) has two plurals: le mura to mean the walls of a city, but i muri to mean the walls of a house. The same for il braccio (the arm): le braccia to mean the arms of a person, but i bracci for the arms of a chair. Feminine Nouns in -O A tiny but important category of exceptions, both in the singular and the plural: la mano/le mani (the hand/hands)la eco (leco)/gli echi (the echo/echoes) Masculine Nouns Ending in -Io In the plural, these just drop the final -o: il bacio/i baci (the kiss/kisses)il pomeriggio/i pomeriggi (the afternoon/afternoons)lo stadio/gli stadi (the stadium/stadiums)il viaggio/i viaggi (the trip/trips)il negozio/i negozi (the store/stores) Words of Foreign Origin Words of foreign origin stay unchanged in the plural (no s); only the article changes. il film/i film (the film/films)il computer/i computer (the computer/computers)il bar/i bar (the bar/bars) Accented Words Words that end in accento grave stay unchanged in the plural; only the article changes. il caffà ¨/i caffà ¨ (the coffee/coffees)la libertà  /le libertà   (the freedom/freedoms)l(a)università  /le università   (the university/universities)il tiramisà ¹/i tiramisà ¹ (the tiramisà ¹/tiramisà ¹)la città  /le città   (the city/cities)il lunedà ¬/i lunedà ¬ (that goes for all accented days of the week)la virtà ¹/le virtà ¹ (the virtue/virtues)il papà  /i papà   (the dad/the dads) (this is also a male noun ending in -a) Invariable Unaccented Some other words (including monosyllabic words) remain unaltered in the plural; again, only the article changes. il re/i re (the king/kings)il caffelatte/i caffelatte (the latte/lattes)leuro/gli euro (the euro/euros) Nouns of Greek Origin These change only in the article (interestingly they change in English in the plural): la nevrosi/le nevrosi (the neurosis/neuroses)la analisi/le analisi (the analysis/analyses)la crisi/le crisi (the crisis/crises)la ipotesi/le ipotesi (the hypothesis/hypotheses) Miscellaneous Exceptions il bue/i buoi (the ox/oxen)il dio/gli dei (the god/gods)lo zio/gli zii (the uncle/uncles) And best of all: luovo/le uova (the egg/eggs)lorecchio/le orecchie (the ear/ears)luomo/gli uomini (the man/men) Buono studio!