ENC 1102 Section 0123: Results/Discussion (Due 4/14 and 4/21 by 11:59pm)

Results/Discussion (Due 4/14 and 4/21 by 11:59pm)

Using the student work we have read this term as models, and the PowerPoint from last class, create a working draft of your results/discussion section. This draft may not fit into one posting area, but you can always use multiple postings. Your original posting is due before the close of April 10th. You should create the following heading for your posting:

Your Name
Professor's Name
Course
Date

The second part of this posting calls you to do a thorough review of a partner's results/discussion sections. The peer review is due by April 17th. You must review the work of a student who has not had his/her work reviewed as yet. Also, you must review the work of a student who you did NOT cover in our in-class peer review.

It will help to leave a brief message below someone's original posting indicating that you plan to review their work (so while you are doing the review someone else doesn't snap up your review and leave you in trouble). I recommend leaving an original message below someone's posting that reads something along the lines of: "I will cover your peer review." Once someone leaves this posting, it will help ensure that everyone gets a review.

Please carefully follow the instructions for the peer review:

Peer-Review Discussion/Results

You should complete multiple reads of your partner’s piece (one or two reads will not cut it).

Copy and paste the posting(s) into a word document.

Number each paragraph and on a separate word document write a once sentence synopsis of each paragraph’s topic and purpose. Leave ample space between so you can write and elaborate further on each paragraph. If a paragraph seems to be going in multiple directions, note the different directions the paragraph takes and explore connections between divergent ideas.

Note key support for each paragraph Evaluate how well the support/details are implemented. How well does the paragraph establish context and evidence? Is there a need for more details to expand a point or a need for more evidence or perhaps analysis of evidence to help deliver a point?

Create a ranking system to identify which paragraphs are most effective and which ones are less effective. Following your discoveries and inferences from your above sections, underscore aspects from each paragraph that need improvement and establish criteria for what works well in paragraphs that are strong and well developed. Look at transitions between different paragraphs and explore ways to improve transitions from one paragraph to the next.

Next, read the paper once more through; identify and look for a main point of theme that guides the results/discussion. From your previous analysis, and multiple read-throughs, determine what central claim is being presented. How clearly stated is the central finding? How can it be better stated? If there are a series of important claims, how could those claims be organized under one larger umbrella claim?

Come up with at least two questions to help the writer think critically about the direction of the results/discussion sections. What do you as a reader want to know more about? Where is the piece most effective and why? Which details and part of the essay stand out as most memorable and effective and why? Where does this piece need to be improved? Be specific in your commentary of your peer’s work.

27 comments:

UnknownApril 14, 2016 at 4:30 PM
Post 1

Arielle Sarria
Professor Longhany
ENC 1102
April 14, 2016

The Realities of Tom and Laura Wingfield
My textual analysis of Tennessee Williams’ The Glass Menagerie revealed that freedom is something both Tom and Laura Wingfield strive to obtain in independent ways. Throughout the play, the siblings rely on outlets—Tom, the movies, drinking, and smoking; Laura, her glass collection and Victrola—to escape their realities. These crutches, though, do not offer them complete mental or physical freedom from their responsibilities or the influence their mother bears over them. Instead, they provide temporary escape until their mother, Amanda Wingfield, draws Tom and Laura back into their dismal realities. In the closing of the play, however, both Tom and Laura Wingfield find some sort of freedom from the lives they lead, though very differently from one another. Tom, though physically free after deserting the family, cannot escape the memory of his sister and the life he used to lead. Laura, though now mentally free of her insecurities, remains physically trapped in the Wingfield apartment.
Amanda Wingfield bears great influence over her children, Tom and Laura. Tom struggles to deal with her “constant directions,” and “hawk-like attention,” (753) causing quarrels between the two quite often throughout the length of the play. Amanda places the responsibility of keeping the family financially afloat on Tom, placing great stress on him as he wants anything but to work for the rest of his life. Instead, Tom prefers to watch movies, smoke, and drink—all of which Amanda scrutinizes and works hard against.
Laura feels pressure from her mother through her constant reminders of acquiring a gentleman and “stay[ing] fresh and pretty” (753). As this is Amanda’s obsession, it consumes her; she spends most of the play referring to herself and Laura as one being, using pronouns such as we and our when describing Laura’s life. Laura, though, prefers the illusory world of her glass animal collection and the comfort her Victrola brings her. Concerned with changing this about her, Amanda belittles Laura’s sense of escape asking,
“So what are we going to do the rest of our lives? Stay home and watch the parades go by? Amuse ourselves with the glass menagerie, darling? Eternally play those worn out phonograph records?” (757)
Through this, she enhances Laura’s insecurities and forces her even further into the prison of living in her mother’s shadow.
Analysis of Tom’s Freedom Throughout versus in the Resolution
Throughout the play, Tom is unhappy with his ordinary life. He detests his job at the shoe factory, but stays around to help the family financially—a choice made by Amanda, not Tom himself. He claims,
“For sixty-five dollars a month I give up all that I dream of doing and being ever! And you say self—self’s all I ever think of. Why, listen, if self is what I thought of, Mother, I’d be where he is—GONE!” [Pointing to father’s picture] (759)
Though Amanda is aware of his unhappiness, she tells Tom that as soon as Laura has “somebody to take care of her, married, a home of her own, independent—why then you’ll be free to go wherever you please” (763). This responsibility traps him, making agitation his default state. To deal with his agitation, Tom loses himself in the movies, coming home drunk at all hours, and smoking on the fire-escape to let out steam. In this way, he finds brief freedom from his unhappy life and stress of his mother.

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UnknownApril 14, 2016 at 4:30 PM
Post 2

In the closing of the play, it is revealed to the audience that Tom has left the family. He finally “descended the steps of the fire-escape for a last time” and left all of the responsibilities he carried for so long behind him. Although one may believe this is the end of Tom’s story assuming he has found the freedom he has so long desired, it is, in fact, not. Tom has found physical freedom, but he remains haunted by the life he left behind. He is never able to settle anywhere because he “was always pursued by something,” (784) that never allows him to reach true escape. The ghost that follows Tom is indistinguishable, “perhaps it [is] a familiar bit of music; perhaps it [is] only a piece of transparent glass,” (784); either way, the memory of Laura never evades his mind. In this way, Tom finds physical freedom, but never mental.
Analysis of Laura’s Freedom Throughout versus in the Resolution
Similar to Tom, Laura is caged in by Amanda’s influence. Her handicapped-ness and the constant reminders of the woman she should be back Laura into a corner of her mind that only her glass collection and Victrola can ease. She is constantly “washing and polishing her collection of glass,” (755) and playing music through stressful situations. In a time of anxiety, Laura winds up her Victrola, which “softens the air and gives her the strength to move through it” (771). Unfortunately, Amanda finds Laura’s outlets to be childish, desiring that Laura learn to use the typewriter and go to business school in preparation for her future; because of this, Laura “thrusts the bowl of ornaments away and seats herself stiffly before the diagram of the typewriter keyboard” (755) when she hears Amanda walking towards her room. Amanda prevents Laura from being herself, increasing her timidities.
Unlike Tom, though, Laura is able to achieve mental freedom and break through the prison of her mind. After spending time with Jim, a man who shows interest in her, “Laura’s shyness dissolve[es] in his warmth” (777). Finally, someone begins to break through the wall that Laura has built around herself and her glass menagerie. Laura and Jim begin to dance, and her initial movements are described as “tight,” and “stiff” (780); but as Jim “swings her into motion,” (780) Laura loosens up and enjoys herself without feeling self-conscious. As they dance, they accidentally knock down Laura’s favorite piece of glass, a rare unicorn. After it has fallen, the horn has broken off. Instead of feeling angry or upset, Laura smiles and says, “Now it’s just like all the other horses.” (780) Jim was able to break down her walls, and like the unicorn, make her feel like a normal person, free of insecurities.
After Jim leaves, Amanda and Laura are left in the house alone. Amanda is upset by the early departure of Jim, and is giving Laura another one of her long-winded speeches. Through this, “Laura’s dark hair hides her face until at the end of the speech she lifts it to smile at her mother” (784). Finally, Laura has found her freedom from the pressures of her mother, and her unhappiness with herself. Like Tom, though, Laura does not achieve complete escape. At the close of the play, she remains living in the Wingfield apartment with her mother.
To conclude, Tom and Laura Wingfield spend most of the play searching for independence from Amanda’s grasp on their lives. In the resolution of the play, though both find their own forms of freedom, they are very different from each other. Tom finds his form of escape through physical departure, though his mind is never freed of the memory of his past. Laura, on the other hand, is able to free her mind, but does not achieve the physical freedom Tom has.

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UnknownApril 14, 2016 at 8:01 PM
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Christina CeaApril 14, 2016 at 8:28 PM
post 1

Christina Cea
Professor Longhany
ENC 1102
April 14, 2016

Results

Through content analysis it was revealed in my research that there is an undeniable gap between the genders within the world of television crime dramas. In regards to my hypothesis previously mentioned, I was not expecting the outcomes of my research to be drastically different between the two selected television programs. The following tables, tables 1.1 and 1.2, include the results on the representation of women within these two television programs.
In the show, ‘Law and Order: SVU’ the ratio of male leads compared to female leads (2:1) is dramatically better than that of ‘Flashpoint’ (5:1) being almost 50-50. However, how these characters are represented in both shows is very similar. My research showed that, in both programs, no women are represented in a leadership positions. Furthermore, male characters were more likely to interact with those in charge than their female equivalents as well as be promoted into a leadership role.
When it came to the number of extras who appeared in each episode there was a staggering gap between males and females in the case of both television programs. On average there were sixty male extras and one female extra appearances per-episode for ‘Flashpoint’. Like flash point ‘Law and Order: SVU’ had, on average, 107 male and 30 female extras per-episode (see table 2.0). There was not one occasion where female extras outnumbered their male counterparts however, twice it was observed that every extra portraying a police officer/agent were male, none of which were female, in the show ‘Flashpoint’.
Although women spoke, on average, significantly less in the show ‘Flashpoint’ (8.81%) than ‘Law and Order: SVU’ (48.69%) both programs showed a correlation between the number of ‘jobs’ done by each gender and the number of lines they had. Simply, the more ‘jobs’ (i.e. arrests, interrogations, paperwork) done the more lines produced (see tables 3.0). For example, in ‘Flashpoint’ episode 1-4, male characters did a total number of 21 jobs and had 248 lines whereas, female characters did a total of five jobs and had 17 lines.
The act of ‘doing gender’, one of Acker’s four processes, forces women in the field of Criminal Justice to decide whether to side with men or their fellow women. Table 4 displays the method in which I captured the process of ‘doing gender’ as well as my results. From observing my data one can conclude that women more frequently spoke to another male in both ‘Law and Order: SVU’ and ‘Flashpoint’ (72.97% and 97.06% respectively) than another female (27.03% and 2.94% respectively). These results are likely due to the number of male and, lack thereof, female characters. Continuing on the topic of Acker’s four processes is the process of ‘gender persona’. Female characters in “Law and order: SVU” were shown to be the more ‘emotional’ gender 75% of the time whereas men, 100% of the time, were the more aggressive gender. In “flashpoint” however, men were portrayed both as, the more emotional and aggressive gender 100% of the time. There is an undeniable connection, in both shows, between being portrayed as the ‘emotional’ gender and that of how often each gender interacted with the victim in a particular episode (see table 4).

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Christina CeaApril 14, 2016 at 8:29 PM
post 2

Discussion

There is a clear and evident lack of representation of women within crime dramas. The whole goal of my research was to see if female characters portrayed in these programs resembled the real working women of the criminal justice field. Although the numbers in regards to the amount of lines and actors played by women are shocking, some of the data from on screen is better than off. Heuy, said that women are over represented (character wise) in crime dramas and that holds true within my own research with the 2:1 ratio from ‘Law and Order: SVU”. However, that does not hold true for the data obtained for the Canadian crime drama “flashpoint” whose 5:1 ratio is much similar to that of the real world.
Many of the issues women in the Criminal Justice field face, went unmentioned in the Crime dramas. However, on specific situation was brought to light but in a different way, towards men instead of women. Questioning family values, an issue that women often face in male dominated fields, was only ever brought up to male characters which would not be the case outside of the fantasy world of crime dramas. Due to there being so many men and very little women, males dominate in every aspect of the show even the part considered to me ‘feminine’. Simply, you cannot give a character and job or trait if that character seizes to exist. It is events like this, when even the bad aspects of a job are solely given to male characters that prove just how terrible the inequality is in the world of Hollywood and crime dramas.

Furthering the Conversation

Although my research revealed that the Female officers/agents in crime dramas do not fully represent the real working women of the Criminal Justice field they both share the same burden of inequality. Researchers like Heuy have made it evident how crime dramas distorted a person’s views on how policing works, therefore the next step will be to understand just how much these shows effect the way citizens view female officers.
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UnknownApril 14, 2016 at 8:48 PM
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UnknownApril 14, 2016 at 8:50 PM
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Taylor TurbervilleApril 14, 2016 at 8:56 PM
Taylor Turberville
Longhany
ENC 1102
4 April 2016
Results (Part 1)
What I found in my study is that many women, even those who do not read comics, were able to see the objectification within them. In the survey eight out of the ten participants said they felt “strange” and/or “uncomfortable” doing at least some of the poses, the other two mentioned that these poses felt “awkward” or “demeaning”, and one of the participant said that these poses also made her feel “sensual”. The overwhelming use of the phrases “strange” and “uncomfortable” in the results was probably do to a flaw within the survey where I used those phrases as example answers; however I also used “powerful”, and “symbolic” as example answers and only one of the participants said that they felt “powerful” for some of the poses, and another said they felt “fierce” at times. Many of the participants could see the appeal to such pictures, Lily said that “the images were made to look powerful but doing them in person seems more uncomfortable”, and all ten participants agreed that such images were “geared toward male readers”. Some of the women felt “weird” and “objectified” that covers like these were even being sold because they “depict women in unrealistic ways.” Many of the women participating in my study said the photo portion was amusing even if it was a little awkward, “It’s almost funny to try and shape yourself into these impossible images of woman.” It is as if to say that these images can be seen as downright comedic.
When I asked if they thought girls would buy comic books if they saw covers like these on shelves, the most of the participants said no because they would feel “insecure”, “demoraliz[ed]”, “intimidated” or “inferior”. Ellen said that she wouldn’t know if she would buy them “because [she]’d want a relatable hero”, and Hazel thought that girls would be “hesitant on buying it” because “it’s a constant reminder of what they don’t look like”. It’s clear from this conversation that there is the factor of a lack of female representation connected to images such as these, not only are were suggesting that these depictions are objectifying but they are disconnected from real women. The participants who said that girls would buy comic books with these covers on it said “most girls wouldn’t know because they’ve grown up accepting it” and they “have only ever been exposed to this kind of content”. Girls buying these comics are being taught that “sex sells” and if that is the case then the consumption of these images “may internalize the effects” that “they have to be sexual in order to be powerful.” In some ways these images are powerful in more ways than one, not only do they show strong women but the way these women are portrayed seem to have the power to influence young girls.
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Taylor TurbervilleApril 14, 2016 at 9:03 PM
Taylor Turberville
Longhany
ENC 1102
4 April 2016
Results (Part 2)
Out of the ten participants I surveyed three have not read any comics, three have read superhero comics and four have read other comics including Japanese manga and The Walking Dead comics. However all the participants have seen some sort of comic book adaptation, such as a movie or television show, the most popular being The Avengers, Spider-man and Batman. All of the participants could agree that “there is not enough female representation”. They seem to have a clear understanding about the lack of woman in comic book related media, Prudence said the “many of the Marvel films and Spider-man films leave out female characters unless they are an elderly loved one, or a love interest”, Patty spoke about how “there is always an uneven ratio of men to women and their screen time”, and Jessica wrote that women in comic books and movies are “only seen as a female counterpart to the males”. Jessica also makes a fair point when she says that “men are also unfairly objectified to seem as handsome, strong, powerful, and smart, even if it’s hidden under a ‘dorky’ image (i.e. Spider-man and Superman)”, But then she also goes on to say that “Woman are never given a ‘normal’ or even ‘dorky’ image, in each character they’re oversexualized.”
The participants also agree that much of the female representation is inaccurate or their character is seen as more menial than the male hero. Alice wrote in her survey that comics “often follow gender roles, leaving woman submissive and passive, and forcing them to have a sexy appeal at all times.” And Lily commented that “Most superhero movies/shows I’ve seen mostly portray the man as the strong, idealistic superhero. The woman is usually always the one who needs saving.” With such little representation we would hope that the female characters that we do have would be more empowered but we see that there are “not enough fully dressed female heroines” and a trend of “an abundance of female victims”. In this context we can see that many women are objectified and used as plot devices for the male hero in many cases, Rochelle eloquently write in her survey that female characters are “constantly reduced to their body or what they can provide for the male character”. The general consensus with all of the participants were about the same, all of the women in the study seemed to agree that we could “use more female representation” and “definitely more relatable female heroes”.
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Taylor TurbervilleApril 14, 2016 at 9:05 PM
Taylor Turberville
Longhany
ENC 1102
4 April 2016
Results (Part 3)
When asked to compare older works with newer works most participants, besides a few who couldn’t remember older works enough to compare, agreed that newer heroines seemed more “independent”, “self-empowered”, and with “better careers”. There is still the “damsel in distress” characteristic that still lingers in today’s comic book culture, but in all it seems we are moving away from the type of female character who “barely got any sort of character development besides being a love interest”. However, even though women are starting to become more powerful and better represented in newer works half of the participants still saw that women were become even more “sleazy” and they are “still drawn with obnoxious assets”. Alice agreed that she was starting to see “more complex characters who are more independent and powerful”, but she also said that the newer works “were definitely more sexualized with submissive personalities.” So even as we see progress in comic media with female character development the use of sexualized female images still demonstrates the problem of misrepresentation of women in comic books. The last question in the survey was a bonus question, it was mostly for fun but also because I wanted to see how women view themselves as superheroines. The images I saw were basic drawings that showed as little as stick people in power poses like the iconic Wonder Woman pose, running, or flying, one participant drew her-self flexing with really pronounced muscles. The ones that weren’t stick people and had clothes on showed fully clothed women in tights or running shorts and a shirt, one participant drew themselves in a cute skirt and tank-top. These images showed me a glimpse of how real women would dress if they were superheroes, and the way comic books are portraying their female characters does not represent this at all.
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UnknownApril 15, 2016 at 9:59 AM
Amber Thomas
Professor Longhany
April 11, 2016
ENC 1102
Results/ Discussion: Post 1
Before viewing the three different ads individually, the participants were asked if they were familiar with the topic of animal testing. Three out of the five volunteers said no, they had no previous knowledge regarding the subject. The other two said they knew some information about it but not enough to have a strong opinion for or against the practice. Their answers to this question helped me decipher whether having any background knowledge of the subject might influence which ad impacted them the most.
The results of the study I conducted were absolutely what I was expecting. My survey/focus group proved that the most persuasive type of animal testing campaign are those that use graphic and disturbing footage of what happens to the creatures in the process of testing. However, the results were not unanimous, considering that all of the test subjects did not vote the same in the survey when asked, “Which of the campaigns you just viewed affected you the most and why?” As expected, the participants that had slim to no background knowledge on the matter chose the campaign that displayed disturbing footage of the animals. One of the participants that claimed they knew some information on animal testing also voted for the disturbing campaign as the most effective. The outlier in my results was the participant that voted for the ad that laid out statistics and data about the animals that are tested on and the damage that they experience. This participant had been one of the two that had prior knowledge of the topic. These results are not to say that each of the campaign approaches can be effective in reaching out to others to convince them to jump on the bandwagon and end animal testing.....
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UnknownApril 15, 2016 at 10:44 AM
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UnknownApril 15, 2016 at 11:48 AM
Brianna Grant
Joseph Longhany
ENC 1102
April 15th, 2016
Results and Discussion
Many of the findings of this study closely coincided with the results of Mia Towbin’s research on gender, race, and age in Disney movies (2008). The results of this study were organized according to two of Towbin’s themes, and several of her subthemes, as well as an additional theme that resulted from the separate survey questions: (a) What it means to be a girl/woman; (b) What it means to be a boy/man; (c) How people perceive the role Disney played in their gender socialization.
What it means to be a girl/woman
Three of Towbin’s subthemes emerged related to what it means to be a girl/woman: (a) A woman’s appearance is valued more than her intellect; (b) Women are helpless and in need of protection; and (c) Women are submissive, domestic and affectionate by nature.
A woman’s appearance is valued above all: In Four of the twelve Disney princess movies (Snow White and the Seven Dwarfs, Cinderella, Sleeping Beauty, and The Little Mermaid), a woman’s value was determined entirely by her appearance rather than her abilities or intellect. For instance, Snow White was victimized by her stepmother, the Evil Queen, because a magic mirror deemed her to be “fairest in all the land”, a notion that made the Queen jealous; in Sleeping Beauty, two of the three gifts bestowed upon baby Aurora are that of beauty and song, qualities that are supposed to make all whom she meets “enchanted by her grace”. These two gifts eventually lead to Aurora and Prince Phillip uniting. In The Little Mermaid, Ariel wins the love of Prince Eric even after losing her voice, similar to Cinderella and her prince, who spend the entire night dancing and are married several days later.
Four movies (Beauty and the Beast, Aladdin, Mulan, and Pocahontas) expressed the concept of valuing women for both their appearance and their intellect or accomplishments. In three of those movies however, there were more examples of women being valued for their appearance rather than for their intellect and accomplishments.
The princesses from Beauty and the Beast and Mulan, for example, both exhibited strong signs of independence, intellect, and ability, however their surrounding characters valued their appearance more than anything. Belle, prior to being locked in the castle, spent much of her time reading books. Her beauty is celebrated by those in her providence (“It’s no wonder her name means beauty–her looks have no parallel.”) but there are several instances in which her intellect is ridiculed (“It's not right for a woman to read. Soon she’ll start getting ideas, and thinking...”). Mulan, similarly to Belle, is an independent character. In an act of love to save her fathers life, she dresses as a man and joins the Emperors army. Mulan repeatedly proves herself worthy, but the moment her true identity is revealed, characters begin to turn against her (“That creature's not worth protecting… 'Tis a woman. She'll never be worth anything.”).
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UnknownApril 21, 2016 at 6:00 PM
Kyle Perozo
Professor Lonhany
ENC 1102
4/21/16

Results
Through a series of survey questions I took fifteen participants and assessed how much their driving behavior can or is being effected by several different variables, these being the media(The news, website, social media, etc.) and government more specifically the laws they put in place to deter drivers from texting. Of the fifteen participants that took part in the study, ten of them answered that they texted whilst driving. While the other five either rarely or never used their cell phones when driving. Of the fifteen participants fourteen of them had been involved in some sort of vehicular accident, with six of those being the direct result of cell phone usage.
So in order to determine how much persuasion the media has over their viewers I ask the participants how much material on the dangers of texting and driving they have consumed (statistics on deaths caused by texting and driving, or stories that are being reported on about people being fatally wounded in accidents due to texting). By correlating this information with participants texting frequency seven of the participants are effected by the material presented by the media, while eight of the participants show little to no effect from it.
Then to determine the effect of the government through local or state legislation, I asked that if a bill were passed making texting and driving an illegal offence with varying penalties. The harshest being a relatively big fine, if this penalty would effect their behavior, eleven of the fifteen participants state that they would cut back or completely stop from their texting and driving habits. With the remaining four stating that it would effect their habit little to none. These results show that both the government and the media play big roles in influencing the decisions we make, but that the government has the most influence, and the media all though having a fair amount of influence but not as much as the government.
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UnknownApril 21, 2016 at 8:38 PM
Post 1

Tyler Henry
Professor Joseph Longhany
ENC 1102
April 21, 2016
Through a series of survey questions, I received a total of 66 individual responses to determine how satisfied college students are with their long- distance relationships and what benefits they believed they could gain from it. Out of the 66 responses, 39 of them were from individuals in long- distance relationships and 27 of them from geographically- close relationships. My results suggest that long- distance relationships can help individuals learn how to trust each other. Out of all 27 GCR responses only 1 individual claimed to gain trust in their relationship while trust was a common denominator in most LDR responses. Another common benefit gained in LDR individuals but not GCR individuals was communication skills. This information shows that the different relationship types can produce different benefits for the individuals involved in them. From my survey responses, 4 individuals were interviewed (2 in LDR’s and 2 in GCR’s) and their answers to my interview questions showed the same results regarding the benefits/ skills gained. The purpose of the interview was to get a more in- depth response on how satisfied individuals were with their relationship type and why they felt they gained certain benefits. The 2 individuals in a LDR both said to gain trust and appreciation for their partner. Both individuals in a GCR said to learn how to manage money. When it comes to the satisfaction levels of long- distance relationships, the results showed that individuals are satisfied with how they feel with their relationship. However, many individuals admitted to not being completely satisfied with the communication in their relationship. The results were very similar to those of geographically- close relationships. It was also shown that about 31% of individuals in LDR have had thoughts of regret about their relationship. Only about 15% of GCR’s reported having some thoughts of regret. These results show that long- distance relationships can have unique benefits to the individuals involved in them and that majority of college students are satisfied with their relationship despite the type of relationship they are in.
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Michael MooreApril 21, 2016 at 8:53 PM
Post 1
Michael Moore
Joseph Longhany
ENC 1102
4/16/2016

Throughout my textual analysis I found multiple sources that analyzed several different effects of balancing school and work. The survey I created focused on negative effects as they were more common. My survey asked participants to weigh the frequency of each effect to analyze which are more prevalent than others. Results shown in chart below:

Based on these results the most frequent effects included: less sleep, less HW/study time, and making social sacrifices. The percentage of participants who answered either “Never” or “Rarely” to having less sleep was only 13%, meaning 87% answered either “Occasionally”, “Often”, or “All the time”. The percentage of participants who answered “Never” or “Rarely” to less HW/Study time was 20%, and for making social sacrifices it was also 13%. These results also show significant evidence that missing deadlines, failing to turn in assignments, and dropping grades are less common effects. 59% of participants answered “Rarely” or “Never” to missing deadlines, 71% answered “Rarely” or “Never” to failure to turn in assignments, and 59% also answered “Rarely” or “Never” to dropping grades. The other four effects did not show very significant evidence that leaned in a certain direction. The percentage of answers where more spread among these effects, with most of the answers being “Occasionally”.
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Gabriel LopezApril 22, 2016 at 3:15 PM
Gabriel Lopez
Joseph Longhany
ENC 1102
4/22/16
After conducting my interviews, I figured out that one common opinion is that baseball’s style of play has hurt its popularity. People tend to be more interested in a game with more action and faster pace. Six of the eight people I interviewed believed this was the reason for baseball’s decline. In fact, all four of the younger people I interviewed preferred other sports that were faster-paced, like basketball and football. These are sports that, unlike baseball, are increasing in popularity. However, there needs to be a reason why baseball was so popular in the past compared to other sports. One reason could be that the game has become even less active recently. During the game’s peak, what brought the fans into the stands was offense. Players, like Mark McGwire and Barry Bonds, brought attention to the game by constantly hitting home runs and generating excitement. Baseball just has not been that offensive in recent years. In 2000, 5.14 runs per game were scored compared to 4.07 in 2014. Home runs per game have also dropped in this time span from 1.17 to 8.16. This could be due to the increase in pitching talent Major League Baseball has seen or possibly the stricter rules on performance-enhancing drugs. This is the exact opposite of what has happened in the other major professional sports. NBA teams have been continuously been playing at a faster rate and hitting more three pointers than ever. NFL teams pass the ball way more often and score more than they did in the past. As a result, the fan bases of these sports have increased why baseball’s has decreased. There seems to be a clear correlation between the amount of action in a sport and the amount of attention that sport receives.
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