Call

Call may refer to:

In arts and entertainment

In science and technology

Computing

Telecommunications

Other uses in science and technology

In finance

Caller (dancing)

A caller is a person who prompts dance figures in such dances as line dance, square dance, and contra dance. The caller might be one of the participating dancers, though in modern country dance this is rare.

In round dance a person who performs this function is called a cuer. Their role is fundamentally the same as a caller, in that they tell dancers what to do in a given dance, though they differ on several smaller points. In northern New England contra dancing, the caller is also known as the prompter.

Comparing callers and cuers

Callers and cuers serve slightly different functions in different types of dance. Improvisation in modern Western square dance calling distinguishes it from the calling in many other types of dance.

Callers in many dance types are expected to sing and to be entertaining, but round dance cuers do not sing and are expected to be as unobtrusive as possible.

Standardized dances such as round dance, modern Western square dance, and Salsa Rueda consist of a number of defined difficulty levels. Callers and cuers are responsible for knowing all of the calls or cues (respectively), also known as figures, for the defined difficulty level at which their dancers are dancing, as well as all figures belonging to lower or easier levels.

Betting in poker

In the game of poker, the play largely centers on the act of betting, and as such, a protocol has been developed to speed up play, lessen confusion, and increase security while playing. Different games are played using different types of bets, and small variations in etiquette exist between cardrooms, but for the most part the following rules and protocol are observed by the majority of poker players.

Procedure

Players in a poker game act in turn, in clockwise rotation (acting out of turn can negatively affect other players). When it is a player's turn to act, the first verbal declaration or action she takes binds her to her choice of action; this rule prevents a player from changing her action after seeing how other players react to her initial, verbal action.

Until the first bet is made each player in turn may "check," which is to not place a bet, or "open," which is to make the first bet. After the first bet each player may "fold," which is to drop out of the hand losing any bets they have already made; "call," which is to match the highest bet so far made; or "raise," which is to increase the previous high bet.

Deference

Deference (also called submission or passivity) is the condition of submitting to the espoused, legitimate influence of one's superior or superiors. Deference implies a yielding or submitting to the judgment of a recognized superior out of respect or reverence. Deference has been studied extensively by political scientists, sociologists, and psychologists.

Politics

Smolenski (2005) examines deference in colonial Pennsylvania, to see how claims to political authority were made, justified, and accepted or rejected. He focuses on the "colonial speech economy," that is, the implicit rules that determined who was allowed to address whom and under what conditions, and describes how the qualities that inspired deference changed in the province from 1691 to 1764. The Quaker elite initially established a monopoly on political leadership based on what they believed to be their inherent civic virtue grounded in their religious and social class. By 1760, this view had been discredited and replaced with the consensus that civic virtue was an achieved, not an inherent, attribute and that it should be determined by the display of appropriate manliness and the valor of men who were willing to take up arms for the common defense of the colony. Further, Pennsylvanians came to believe that all white men, not just wealthy property owners, were equally capable of achieving political voice. Martial masculinity, therefore, became the defining characteristic of the ideal citizen and marked a significant transformation in the way individuals justified their right to represent the public interest.

Electronic submission

An electronic submission refers to a manuscript submitted by electronic means: that is, via e-mail or a web form on the Internet, or on an electronic medium such as a compact disc, a hard disk or a USB flash drive. Traditionally, a manuscript referred to anything that was explicitly "written by hand". However, in popular usage and especially in the context of computers and the Internet, the term "manuscript" may even refer to documents (text or otherwise) typed out or prepared on typewriters and computers and can be extended to digital photographs and videos, and online surveys too. In other words, any manuscript prepared and submitted online can be considered to be an electronic submission.

History and Early Usage

There is no concrete data indicating when and by whom were electronic submissions used for the first time. However, research based universities in several countries have been encouraging the collection of course assignments and projects in the form of electronic submissions for almost a decade now. Several governments and organizations are also switching to electronic submissions for the collection of research papers, grant applications and government application forms.

Submission (2004 film)

Submission is a 2004 English-language Dutch short drama film produced and directed by Theo van Gogh, and written by Ayaan Hirsi Ali (a former member of the Dutch House of Representatives for the People's Party for Freedom and Democracy); it was shown on the Dutch public broadcasting network (VPRO) on 29 August 2004. The film's title is one of the possible translations of the Arabic word "Islam" (see also the etymology and meaning of the word). A Muslim fundamentalist reacted to the film by assassinating Van Gogh.

Content

The film tells the story of four fictional characters played by a single actress wearing a veil, but clad in a see-through chador, her naked body painted with verses from the Quran. The characters are Muslim women who have been abused in various ways. The film contains monologues of these women and dramatically highlights three verses of the Koran describing marital good bearings and role of a man and a woman in a pious relationship and rules governing divorce and reconciliations and citing certain superiority of man over woman in a complex way, open to varied interpretations (4:34 2:222 and 24:2), by showing them painted on women’s bodies.