美国论文代写：乐高集团

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美国论文代写：乐高集团

乐高集团始于1916年，当时一名不起眼的木匠Ole Kirk Kristiansen开始在这个木材车间在Billund的丹麦村庄内部制作木制玩具。然而，由于金融崩溃，该集团目前的状况令人可悲。这是由于公司的战略业务决策和战略管理不当造成的，对于公司的成功和发展并没有一个清晰的认识，不知道该做什么，不该做什么。一个有效的战略规划将有助于企业与竞争对手竞争，获得更高的利润率。为了制定更好的战略计划，公司必须进行SWOT分析。在最初几年，公司运行顺利。然而，随着竞争水平的提高以及客户需求变化等不确定的市场环境，全球商业趋势等对集团业务产生了巨大的影响，难以在市场上占有一席之地（Wind， Y.，＆Robertson，T.S，1983）。
乐高集团的业务系统模型
业务系统模型由三个主要组成部分组成，对业务绩效产生巨大的影响（Kaplan，R. S.，Norton，D. P.，＆Horvath，P 1996）：
资源基地：乐高集团在成立后的几年中遇到困难。该公司的重要资源是砖块，装订机塑料注塑机，这是用来建立木制玩具，砖玩具等。但是，公司如何有效利用这些资源，并不会导致它在2002年面临库存不足，库存变慢等问题。

美国论文代写：乐高集团

LEGO group came in to existence all the way back in 1916 when a humble carpenter, Ole Kirk Kristiansen started making wooden toys in this wood workshop in the interiors of Danish Village in Billund. However, the current position of the group is pathetic due to a financial collapse. This resulted from the improper strategic business decisions and strategic management of the company, which does not have a clear cut idea of what to be done and what not to be done to achieve success and growth of the company. A strategic planning that is effective will help a firm in competing with its competitors and attain increased profit margins. For formulating a better strategic plan, a company has to conduct a SWOT analysis. In the initial years, the company was running in a smooth way. However, later with the increased competition level and uncertain market conditions like changes in the customer demand, global business trends and so on has a huge impact on the business of the group, which it finds difficult to hold its position in the market (Wind, Y., & Robertson, T. S, 1983).
Business System Model of LEGO Group
Business system model consists of three main components that give immense impact on the business performance (Kaplan, R. S., Norton, D. P., & Horvath, P 1996):
Resource base: The Lego Group saw a difficult phase in the later years of its establishment. The vital resources of the company is bricks, brick binding machine plastic injection molding machine, which is used to build wooden toys, bricks toys and so on. However, the effective utilization of these resources by the company would not have leaded it to face the issues like stock-outs, slow movement f its inventory etc during 2002.

美国列克星敦论文代写：印刷术

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美国列克星敦论文代写：印刷术

印刷术的设计特别是为了使目标受众满意，而对观众的影响则与观众的情感联系密切相关。印刷术是一个增加人们之间激情的主题，有时它变成一种痴迷（Simmer，J.2005）。如果这个话题对你来说比较新，或者你想了解更多，那么这个指南就可以开始你的旅程。
一位着名的罗伯特·布林赫斯特（Robert Bringhurst）印刷工也将印刷术描述为一种工艺，即“赋予语言的专门知识和艺术，使其更具吸引力”和“具有独立存在”（Bringhurst 2005：11）。与此相关的基本目标是如何影响读者阅读文本，以及我们如何显示我们的兴趣阅读书面内容。印刷术作为一种语言为设计者提供了效率和技能，并使他们能够灵活地运用印刷和技术环境。语言赋予了印刷术一种描述工具，以一种被称为印刷术的新的和改进的方式描绘和传达设计师的信息。随着语言排版涉及平面设计和其他设计工具，如美术，电影和摄影（Ruari，米2000）。
格式良好的排版也可以附上视觉参考文本的内容和目标读者。总之，可以估计“印刷术是以印刷形式显示文本”。正如在介绍中我们已经看到，排版是一种排列交互式界面的艺术。印刷术被广告牌用于海报，网站和杂志;它涉及到所有形式的静态排版，被用于不同类型的目的。在下面提到的图像中可以看到排版设计及其字体差异的简单说明，以及在不同字体中具有相似文本的观众如何使用主导排版。

美国列克星敦论文代写：印刷术

Typography is designed especially for pleasing a target audiences and impact it had over audiences are closely accorded to the emotional connection of the viewers. Typography is a subject that increases passions among people and sometime it becomes an obsession (Simmer, J. 2005). If this subject is relatively new to you, or perhaps something you want to know more about, then this guide can start you on that journey.
A famous typographer named Robert Bringhurst has also described typography as a craft, namely “the expertise and art of bestowing language with a visible form and making it more attractive” and “with an independent existence” (Bringhurst 2005: 11). Basic aim associated with this is that how affect audience to read a text and how we are showing our interest to read that written content. Typography as a language offers efficiency and skills to designers and makes them flexible to work with print and technological environments. Language has given typography a description tool that portrays and conveys the messages of designers in a new and improved manner that is being called typography. Along with language typography involves graphic design and other designing tools like fine art, film and photography (Ruari, M. 2000).
Well- formed typography can also enclose visual references to the contents and intended readership of the text. In short it can be estimated that “Typography is a visual display of texts in print form”. As in the introduction we have viewed that typography is an art of arranging type for an interactive interface. Typography is being used for billboards to posters, websites and magazines; it involves all forms of static typography that are being used for different types of purposes. An effortless illustration of the designing of typography and their font differences can be seen in the below mentioned image and how dominant typography can be for viewers with similar text within different typefaces.

代写essay：戏剧中的对话

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代写essay：戏剧中的对话

对话是一种持续不断的事物，与我们每一次与我们所做的每一次交流都是与我们一起生活的。我们从童年时代就与学校的朋友，大学生，同事，尤其是与我们的父母，兄弟姐妹进行的对话使我们能够迅速地对这些事情做出反应，但是当涉及到一个不为人知的人，当我们与他们交谈有一段时间，我们还记得如何与他们交谈并得到积极的回应（南丁格尔，2000）。当我们分析的时候，我们忘记了每天我们所说的所有人都可以遵循的基本方式。如果我们总是和亲密的人说话，我们可能会受到伤害。所以有时候，谈话中也会表现得很严厉，因为这很自然。如果喜欢我们的人能够理解和回答我们母亲每天所做的事情。
正在为电影，短片和舞台剧写作各种剧本的剧本作者，通过观察周围的事物，观看许多电影或阅读许多面向对话的小说，收集了大量的信息从他们。阅读和看电影可能很容易，但想象一个对话的艰辛工作，并通过思考一个角色如何思考和对这个对话做出反应以及如何回应将是非常困难的。
现场或屏幕上的对话都有很大的难度，这些话语是非常强大的，无论是开玩笑，还是建议，或者是一个信息。让我们的话总是愉快的，而不是表现出我们的愤怒，然后把它展示在正确的地方，这是传达我们思想和行为的最大方式。

代写essay：戏剧中的对话

A dialogue is a continuous thing that lives along with us in each every communication that we make with someone else who is either near or far, it matters a lot or less. Conversation that we make from our childhood with our school friends, college mates, colleagues and especially with our parents, siblings make us to react for those things rapidly but when it comes to a person who is unknown and when we have a conversation with them for a while, we remember how to talk to them and get the response positively (Nightingale, 2000). When we analyze, we forget the basic way that these things could be even followed with all the people whom we are talking daily. If we are always with sweet words with people who are close, we might get hurt. So at times it is better enough to show a harsh face in the conversation too as it is quite natural. And if the person who likes us will understand and reply even for that like how our mother does daily.
Script writers who are writing a variety of scripts for movies, short movies and for stage shows have gathered huge lot of experiences out of their life and by observing things around them and by watching many movies or by reading many dialogue oriented novels would have gathered information from them. It might be easy to read and see a movie but the hard work for imagining a conversation and for writing a set of dialogue by thinking how a character will think and react about this dialogue and how he/she responds back would be much difficult.
Dialogues in live or in screen have much difficulty and the words are much powerful either it is joke or it is an advice or it is an information everything matters through our single response. Making our words pleasant always and not showing our anger then and there and showing it in a right place is utmost way of conveying our thoughts and deeds.

代写assignment：印象派艺术家

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代写assignment：印象派艺术家

梵高是荷兰邮政印象派艺术家，1853年3月30日出生，1890年7月29日逝世。他是世界知名的艺术家，他的绘画作品是世界上最受欢迎的绘画作品之一，是独特而昂贵的艺术作品（Chipp，1975年）。这里的讨论主题是“比较和比较梵高两幅作品的各个方面”。选择的两幅作品是两只螃蟹和向日葵。像其他后印象派艺术家一样，文森特·高格也热衷于调查他们的艺术作品的对象，强调它的意义和象征意义。
两幅画的文化和历史意义：
在这幅画中，螃蟹的背面是螃蟹，它简单地表示有一个坚硬的外壳作为保护的东西，但却揭示了软而脆弱的底面。梵高通过螃蟹试图在不利的情况下显示自己的感受，甚至是在自己身上。画中的螃蟹表现了艺术家梵高（Lazowski，2001）的未来希望的信息。螃蟹甚至意味着梵高面临的生活的斗争，重新站起来。最后还可以看出，他通过克服生活中的危机而恢复了自我。相反，在梵高乐观的时期，凡高画的是向日葵，这是凡高等待他的导师和前卫保罗·高更的着名画家的罕见时期。范画了向日葵的目的是要打动高更，花是代表友谊的姿态。凡高从来没有试图在他的艺术作品中复制确切的现实。他为绘画作出的色彩选择并不是以自然为模仿的动机，而是试图通过绘画来表达自己的情感。

代写assignment：印象派艺术家

Vincent Van Gogh was a Dutch Post Impressionist artist who was born on March 30th 1853 and died on July 29th 1890. He was world renowned artist whose paintings are among the most popular paintings in the world and are unique and expensive art works (Chipp, 1975). Here the topic of discussion is “compare and contrast on various aspects on the two paintings made by Vincent Van Gogh”. The two paintings selected for the discussion are Two Crabs and The Sunflower. Vincent Gogh like other post-impressionist artists had keen interest in investigating about the objects in their art works with emphasis on its significance and symbolism.
Cultural and historical significance of the two paintings:
In the painting Two Crabs the crab is shown on its back it simply signifies something having a hard shell as a protector but is revealing the underside which is soft and vulnerable. Van Gogh through crab had tried to reveal his own feelings in adverse situations and even something about himself. The crab in the painting signifies the message of hope for the future from the side of the artist Van Gogh (Lazowski, 2001). The crab even signifies the struggle of life as faced by Van Gogh for getting on the feet again. Lastly it is also depicted that he had recovered itself by overcoming the situations of crisis in life. On the contrary The Sunflower was painted by Van Gogh during the period of excited optimism and that was a rare period during which Van Gogh was waiting for the arrival of his mentor and a famous painter of avant-garde Paul Gauguin. Van painted The Sunflower with an intention to impress Gauguin and the flowers was the representation of the gesture of friendship. Van Gogh never tried to copy the exact reality in his art works. The choice of colors he made for making his paintings was not with a motive of imitating nature instead he tried to express his emotions through his paintings.

美国代写论文：艺术家的简史

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美国代写论文：艺术家的简史
如果没有创作者的背景，一幅画是不完整的，所以我们需要看看他们对艺术的态度，实际上他们对被描绘者的感受。
1）Robert Feke
首先我们来看看Robert Feke。罗伯特·费克是美国的社会主义者，画家和艺术家。费克以他在世界各地的肖像而闻名，他的作品在欣赏艺术和绘画的人中享有盛誉。许多艺术史学家和研究人员认为，费克是一位技艺娴熟，聪明的画家，他运用他的技巧，让观众了解国内的普遍情况。 Feke出生在纽约长岛，是一个殖民时期的见证人。因此，他的绘画是这种情况的结果，他用绘画作为谈话的媒介，运用他的技巧，以提醒后代关于旧时代。为了欣赏Feke的作品，Richard Saunders评论道：“Feke对殖民地绘画发展的影响是巨大的，他的照片为下一代有抱负的殖民地艺术家的作品设定了一个新的标准。所以，我们可以看出，费克的作品受到了多少人的赞赏，有多少人受到他的画作和思想的影响。 Feke的绘画似乎给观众留下了一个信息，似乎Feke一再成功地这样做。他所有的工作都有其中的几个含义，本文所讨论的也有同样的质量。这个女人没有被描绘成一幅纯粹的肖像，而是将那个时代的完整故事写入了肖像。

美国代写论文：艺术家的简史
A painting is incomplete without the background of its creator and therefore we need to take a look at their approach towards art and in fact their feelings for the person being painted.
1) Robert Feke
To start with we will take a look at Robert Feke. Robert Feke was an American socialist, painter and artist. Feke was famous for his portrait across the world and his work is renowned among people who admire art and painting. Many art historians and researcher believe that Feke was a skilled and smart painter who applied his skills in order to give viewers a sight of the prevalent situation of the country. Feke was born in Long Island, New York and was a witness was of the colonial era. As a consequence his paintings are a result of the this situation and it appears that he used painting as a medium of conversation and applied his skills in order to remind the following generations about the old days. To appreciate Feke’s work, Richard Saunders commented that, “Feke’s impact on the development of Colonial painting was substantial, and his pictures set a new standard by which the work of the next generation of aspiring Colonial artists was judged”. So, we can see that how much Feke’s work was admired and how much people were influenced by his paintings and ideas. Feke’s paintings seem to give out a message to the viewers and it appears that Feke has repeatedly succeeded in doing so. All his work has incorporated several meanings in it and the one being discussed in this paper also has the same quality. The woman is not depicted as a mere portrait and in that portrait is incorporated the complete story of that time period.

论文代写：家具的风格

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论文代写：家具的风格

虽然每个阶段都有很多不同的风格，但实际上所有阶段都是在更广泛的分类下进行分类的。因此，在研究每个阶段的风格之前，解释法国家具的两个基本定义非常重要：“Menuisrie”和“Ebenisterie”。在谈到一件法国古董家具时，经销商和收藏家通常首先将其分为两类之一。这是一个更广泛的分类。十六世纪的家具与餐厅的分部有明显的联系。菜单是一个与实木工作的人。虽然菜单可以直译为木匠，但这个人实际上不仅仅是一个木匠。这是一个处理皇家家具中使用的镶嵌复杂技术的人。然而从十六世纪走向十七世纪和十八世纪的家具，还有许多元素被添加。特别是17世纪是巴洛克时代。这是当更复杂的技术来使用。饰面和镶嵌被看作是取代较简单的技术。当时的菜单被称为电子书。 “ebenistes”一词的直译意为“橱柜制造者”。这又不是完整的翻译，因为所谓的橱柜制造商负责创造座椅，座椅家具，自助餐和衣橱，装饰板（比如用于墙壁的装饰板），以及窗户等等。 Ebenistes被称为是因为他们制造的家具不是来自当地常见的木材。他们从乌木制造家具。乌木或者ebene在16世纪在法国首次使用，但是它被用作一种非常专业的木材。由于皇室需要更多这样的产品，工匠更专注于其创作。使用乌木来制作艺术家具的工匠最初被称为enbene菜单。

论文代写：家具的风格

While there are many different styles within each stage, all stages are actually classified under much broader classifications also. Hence before the study of the styles of each stage, it is very important to explain two basic definition of French furniture: “Menuisrie” and “Ebenisterie”. When talking about a piece of French antique furniture, dealers and collectors usually first classify it into one of these two sorts. This is a broader classification. The 16 century furniture was connected distinctly to the divisions of the menuisier. The menusier is one who worked with that of solid wood. While a menusier can be called a carpenter in literal translation, the person is actually more than a carpenter. This is a person that dealt with the intricate techniques of inlays that was used in the royal furniture. However moving from the sixteenth century towards the seventeenth and eighteenth century furniture’s, there were many elements that were added on. The 17th century in particular was the age of the baroque. This was when more sophisticated techniques came to be used. Veneering and marquetry was seen to replace the simpler techniques. The menuisiers at this time were referred to as the ebenistes. A literal translation of the term ebenistes means ‘cabinet-maker’. This is again not the complete translation as the so called cabinet maker was responsible for creating seat’s, seat furniture, buffets and armoires, decorative paneling such as for the walls called the boiseries, and windows and more. The Ebenistes were so called because the furniture they made was not from the normal, locally found wood. They made furniture from Ebony. The ebony or the ebene was first used in France in the 16th century but it was used rather sparingly being a very specialized form of woods. As royalty demanded more of such products, the craftsmen focused on its creation more. The craftsmen that used the Ebony to create artistic furniture were called the menuisiers en ebene initially.

美国论文代写：雕塑艺术

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美国论文代写：雕塑艺术

除了Laocoon和他的儿子的灵感，Botha的“Prism 10”也让我想起了意大利未来主义者翁贝托·博乔尼（Umberto Boccioni）的作品，这是20世纪初期的令人印象深刻的雕塑作品：独特的宇宙连续形式。与两个雕塑相比，它们与被数字运动所排挤的空气相似，它们的形式与实际的形体没有什么不同。例如，看到波塔和波乔尼雕塑中的波浪状或火焰状的形状从小牛开始，并显示空气从运动中的身体旋转。然而，Botha和Boccioni之间的区别在于，Botha的雕塑运动自然而然地靠重力而不是像Boccioni的雕塑运动那样上升。其次，Boccioni的身体数字是非常立体的数量，而不是Botha的身体数字 – 线性依赖。当我离开博塔的雕像时，我的思绪伴随着贝多芬的和弦，伴随着风暴的轰鸣，以及来自板块冲突的隆隆声。乍得罗索看到博塔的棱镜10（死拉奥孔）后说了一句话：“你还怎么介绍一个如此与崇高沐浴的演出？
蒂姆·格里芬（Tim Griffin）在文章“世界的分离：当代艺术，全球化和双年展的兴起”中指出：“全球化是理解体制框架如何塑造当代艺术的基础”。
当然，随着国际双年展的兴起，全球化在二十世纪九十年代中期开始受到欢迎。许多策展人，评论家和艺术家都相信在间隙空间工作的潜力，以及他们之间往来旅途的潜力。这些乐观的态度随着千禧年的变化而变化，当全球化成为积极对抗艺术和写作的东西时，从扁平化到跨国公司漠视人的主权和环境责任。“

美国论文代写：雕塑艺术

Beside the inspiration from Laocoon and His Sons, Botha’s “Prism 10” also reminded me of the work of the Italian Futurist Umberto Boccioni, the impressive early 20th century sculpture: Unique Forms of Continuity in Space. Compare to both the sculptures, they are similar with the air displaced by the figures’ movement and they are rendered in forms no different than those of the actual bodies. See, for example, the wave-like or flame-like shapes in Botha and Boccioni’s sculptures are begin at the calves and show the air swirling away from the bodies in motion. However, the difference between Botha and Boccioni are, the movements in Botha’s sculpture are naturally going away by gravity instead of going up like Boccioni’s sculpture movement. Secondly, Boccioni’s body figures are very cubically volume instead of Botha’s bodies’ figures – linearly dependent. As I walk away from the Botha’s statue, my mind rings up with the Beethoven’s chord along with the roar of the storm and the rumblings from the clash of tectonic plates. Chad Rossouw gave his words after seeing the Botha’s Prism 10 (Dead Laocoon): “How else do you introduce a show so bathed with the sublime?”
In the essay “Worlds Apart: Contemporary Art, Globalization, and the Rise of Biennials”, Tim Griffin stated that,“Globalization is fundamental for understanding how institutional frameworks now shape contemporary art”.
Certainly, globalization was celebrated in the early to mid-1990s in conjunction with the rise of international biennials. Many curators, critics, and artists believed in the potential of working in interstitial spaces and traveling to and among the, These optimistic attitudes changed with the turn of the millennium, when globalization became something actively to counter both in art and in writing, for reasons ranging from its flattening of difference to multinational corporations’ disregard for human sovereignty and environmental responsibility.”