Datasets:

Lambent

/

1k-creative-writing-8kt-fineweb-edu-sample

like 0

“World War II was more terrifying and tragic than World War I regarding the number of sacrifices and loss of resources.” That is how a thesis statement or an opening sentence of the compare and contrast essay topics on history may look like. The article explores how to write a compare and contrast essay. Read it if your teacher asks to find differences and similarities between 2 or more objects. WRITE MY ESSAY FOR ME If you don’t, the smartest thing to do is to contact online academic writers of MA and PhD level and order custom academic paper of any type. How to Write a Compare and Contrast Essay? Before we share some of the best ideas to include in your writing, we should discuss how to write a compare and contrast essay in several stages. - Consider 2 or more objects/events/people to detect similarities & differences. The primary goal is to read the assignment’s prompt, analyze it, highlight the keywords, brainstorm, and prepare an action plan called outline. Take notes while reading the materials – it is a solid head-start! - Prepare a list of the core things that the objects have in common, and then specify what makes them different from each other. Experts recommend developing separate columns to include the results there. - Exclude the most significant ideas and create a thesis statement based on them. Cherry-pick the points that underline the differences & similarities between the target objects in the most persuasive way. Think about the major themes, characters, and the messages of every topic. - Make a final draft of the outline to ground the paper. An outline breaks down the primary points to discuss. In case of this type of homework assignment, it is better to avoid developing papers larger than 6 paragraphs in length (approximately 2-3 pages). - Add textual elements to come up with the final draft. After writing a plan, everything left to do is to involve a credible evidence to support the main points of the text. To collect such information, a detailed primary research is required. - Proofread & edit once you are done. Even if you are sure in the quality of work, dedicate some time to re-reading and checking the final draft before turning it into the final paper and submitting. Remember: once the teacher receives the paper, a student cannot get it back to fix something. Do not miss the chance to scan the text for the common mistakes such as grammar, spelling, punctuation errors, and even small typos that can affect the final grade. Another great idea is to ask someone to read & analyze the paper. Compare and Contrast Essay Example Proposed by Expert In short, here are the parts a student should include in his work: - Introduction. Lay out the overall idea behind the main point; it might sound something like, “I believe the way these works draw parallels and gaps between these elements are significant as…” The next thing to step in is the body. - Body paragraphs. A student is encouraged to prepare 4 body paragraphs for a paper of this type: list and describe minimum 2 similarities & 2 differences when it comes to discussing the offered ideas. A student may choose one of the possible body structures. Paragraph 1 – Issue 1 Compare Paragraph 2 – Issue 2 Compare Paragraph 3 – Issue 1 Contrast Paragraph 4 – Issue 2 Contrast Paragraph 1 – Issue 1 Compare Paragraph 2 – Issue 1 Contrast Paragraph 3 – Issue 2 Compare Paragraph 4 – Issue 2 Contrast Some students prefer standing out form the rest of their classmates by offering a hybrid model. - Conclusion. In a concluding part, sum up the offered opinions and reword a thesis statement. What about a good differences & similarities essay example? Professional online writing services like the one mentioned in the opening paragraph of this article provide thousands of free essay samples to enjoy. As for the in-text examples, the experts say the following: “It is not necessary to have a lot of examples as a single killer example based on personal experience or real-life situation can prove the writer’s point. Depending on the depth of work, a student may bring in outside criticism to back up the arguments. The second set of eyes may help to review the work from a critical perspective. Parents or peers can decide whether the essay is easy and interesting to read.” Linda Strong, a certified academic & business writer at EssayClick. PRESS HERE TO BUY A+ ESSAY What Are Some Good Compare and Contrast Essay Topics to Consider? Look for the best ideas shared by the top students in the lists below. Compare and Contrast Essay Topics for College Students A freshman may start from one of these essay topics for college students. You may also relate some to the years spent on a college campus. - Mineralogy & geography - Several different theories of Albert Einstein - Political regime in the United States today as to the one 50 years ago - Volcano eruption or tsunami: Which natural disaster is more threatening? - How has the fashion changed since the early 90s? - Would you prefer to stay miserable in a mansion or happy in a shanty? - The life on campus is better than life with family - Netball versus basketball rules Compare and Contrast Essay Topics for High School What about compare and contrast essay topics for high school? Youth today s technologically advanced – focus on this perspective. - Samsung on Android or Apple iOS devices - Linux or Windows operating system - Flat & private houses - Chemistry and Biology: Differences & Similarities - Kennedy and Obama: Comparing 2 American presidents - Money or gifts make people happier when it comes to holidays - Which of the 2 date scenarios is better to implement? - Do aliens exist or not? Compare and Contrast Topics for Middle School A list of the comparison topics for middle school is a bit less complicated than the one for high school & college students. Focus on the fun! - Purchasing goods online against buying products in traditional shops - Cinema or traditional theater - Fiction plus non-fiction - Holidays in Orthodox church versus those celebrated in Buddhism - Which type of activity is more effective when it comes to losing weight: sports or diets? - Wearing pants or dresses in the office - Were mythological Gods real? - Wearing uniform or having no school uniform at all Compare and Contrast Essay Topics for 6th Grade We recommend choosing something fun to discuss in essay topics for 6th grade. Pick several heroes from comics or popular ways of online communication. - E-mails versus traditional posting - Various concepts of beauty in modern world - Heavy metal & hip-hop music - Fruits vs. Vegetables - Superman versus Batman - Summer or winter - Sailor Moon or Pokemon - Toys & cookies AP World History Compare and Contrast Essay Have you heard about the Advanced Placement exam? Here are some AP world history essay topics! - Draw a parallel between 2 or more distinguished leaders in history - What did World War I and WW II have in common? - How is the development of Ancient Greece different from the development of Ancient Rome? - What is the difference between Southern & Northern states? - Cleopatra & Margaret Thatcher - Christianity & Islam - Sparta & Athens - Mesopotamia differences Things to Compare and Contrast Observe the list of common things to analyze. Those are simple ideas for this type of paper. - Playing video games against reading: more preferred pastime - Messaging is killing live communication: Pros & cons - A personal lifestyle versus the lifestyle of the target role model - Hollywood & Bollywood - Similar & different traits children share with their parents - Several quotations of famous people - SEO or traditional approaches to marketing - Comedy or drama movies Easy Compare & Contrast Topics - Active or passive leisure - Having a long hair versus having a short haircut - Driving a car or a plane - Pick 2 plays of William Shakespeare to discuss (more authors are listed here) - Select any 2 books from the epoch of Romanticism - Gothic and Baroque art in history of mankind - MacDonald’s & Burger King - US English & UK English comparison Choose one of the offered topics or come up with your own unique idea! Teachers would appreciate the creative approach. After reading several valuable tips, a student may still have no idea how to start a paper or attract reader’s attention. It is a separate art. If you are not ready to master the art of academic writing alone, there is no need to – go the website of an official writing service for students and buy a cheap paper written from scratch to stand out from the rest of your peers! Let's say your high school or college teacher haven't assigned the topic for your assignment. It means you can choose compare and contrast essay topics by conducting in-depth research, asking for advice, or hiring a professional academic writer to help. It is simpler than deciding on the most relevant argumentative or scientific subject. However, every high grade expects a quality content written on the interesting essay topic; it is critical to learn how to write a compare and contrast essay and choose appropriate ideas to discuss. Do not be trivial! The article you see now will help you to avoid confusing and banal essay topics. In addition to the list of the top-rated themes, we will share different links to websites with great examples and online writing help. BUY CHEAP ACADEMIC HELP Students will find some good points and ideas necessary for the development of a good school or college comparative essay. Online academic writing help is always available to lend a helping hand when it seems like the assignment is impossible to complete. How to Write a Compare and Contrast Essay: Major Principles The answer to the disturbing question like how to write a compare and contrast essay begins with the structure of this type of academic writing. It has the same structure as other types of academic papers with the few major differences. Introduction with the powerful hook and thesis statement remains the same. In your conclusion, reword the thesis and summarize the arguments used to defend the main idea of the paper. The body paragraphs are different. It depends on whether the author focuses more on differences, similarities, or tries to balance with both. Take a look at a couple of images below to realize how to write a paper of this type based on our examples. How to Choose Compare and Contrast Essay Topics Wisely? The most effective, time-tested way to select essay topics in case your teacher did not give some is through researching different types of sources: - Newspapers. A student can find an endless source of great ideas. They are related to the ongoing world’s events, latest innovations, expert opinions, political fluctuations, and other fields. Pay attention to both columns, interviews, and analysis composed by an authoritative person from politics, economy, and other aspects of human life; - News channels. Turn on your favorite channel not to watch favorite TV show this time. Learn about the contemporary problems and try to think about an interesting topic idea spending something around half an hour of your precious time. - Magazines/Journals. If you are not a great fan of politics, religion, or economics, try to find some good ideas in the recent magazines/journals. Check the rubrics dedicated to entertainment, technology, teen life, and sports. - Internet. It should be the greatest source of all ideas collected in the previous types of primary sources altogether. - Do not forget to attend various seminars, conferences, meetings to learn more about the things going on in the world and recently discussed by the society. “Before starting the topic, organize the thoughts in a logical manner. Develop some kind of a chart/graph/table to have a visual picture of how the final draft should look like. In this type of academic writing, it is important to focus on the comparable qualities & characteristics of the subjects/events/people to impress the target audience. It means the author should pick original criteria to draw parallels or stressing the gap between the objects.” Professor Beverly Thompson, online English tutor and golden writer at NerdyMates Students will not understand how to write a compare and contrast essay without memorizing and using properly so-called signal words. Those are transition words. In other types of essays, it is important to join different sections like body paragraphs and conclusion in a whole piece with the help of special words/phrases. Find the list of signal words below. Compare and Contrast Essay Topics on Famous People It is time to answer the main question of our reader, “What are some good compare and contrast essay topics?” World-known people like different celebrities and political figures have always attracted the attention of ordinary citizens. It's a great chance for every writer to catch an eye of the reader by describing and comparing the life of various American authorities. You do not necessarily need to analyze the life of people from the same region or field of activity. Many students find it exciting to take a person from real life and a book or movie character. It leaves space for imagination. Have enough ideas to write your five-paragraph essay: - Madonna and Celine Dion. While the first woman is a self-made American singer, the same can be said about her Canadian fellow singer. By comparing these two, you draw parallels between the American and Canadian pop stage. - Adolph Hitler and Joseph Stalin. Even though these historical figures widely known to the public were from the opposing camps, there are more similarities between them than you can think. - Peter Griffin vs. Homer Simpson. The two American television shows, "The Simpsons" and "Family Guy" are alike by showing the disadvantages of the nation and laughing at the public stereotypes. However, one of the shows is still more radical. - Bugs Bunny and Charlie Chaplin. As the time passes by, these figures remain the symbol of their time and entire American culture. It would be interesting to write about the similarities and differences between their comic images. - Online ads VS traditional ways to promote goods/services. How these methods affect lives of different popular people - Hobbes or Locke. English philosophers’ roles regarding the contribution of each to the study of political science - Batman VS Superman. The reasons why Batman won in the famous movie - Start Wars modern episodes or episodes of 1970’s. Comparison of graphic, actors, plot, visual effects, music, sound effects, habits, etc - Plato or Socrates. Decide which one contributed more to the philosophical research - Putin & Obama. Differences in the political regime and economics offered by each president Religion, Anthropology, and AP World History Compare & Contrast Essay Topics Religion is often a taboo topic to discuss. Public schools and colleges have subjects dedicated to religion. Students are encouraged to write about it. Religion, history, and anthropology are closely related. You may choose AP world history compare and contrast essay that covers all three dimensions to enrich your essay. Here we go with several good examples recommended by high school and college students: - Discuss World War I and World War II. It is a traditional debate. Many people find the two wars similar, but historians point to a great number of differences such as main factors, actual causes, and consequences. Explain why World War II was much worse and terrifying. - President Obama and President Kennedy. Mass media tends to draw parallels between both political figures very often. It is time to find out why. - Ancient Greece Ancient Rome. All ideas related to the offered topic are good enough because these civilizations have a great impact on the modern world. Cover Greek and Roman mythology, describe their traditional public events, a way of living, differences and similarities in poetry, and influence on the modern American society. - 18th Century Living VS Modern Life. Are American people freer now and how is a modern society divided into classes? What are the advantages of e-mail in contrast to the traditional mailing they used back in the 18th century? - Frenemies. The way famous political competitors, John Adams and Thomas Jefferson acted often reminded of both friendship and rivalry – which one is correct? - American Revolution VS French Revolution. Both held back in the VIII century, and both are having similarities & differences. - The Salem Witch Trials & McCarthy Era in the US history. How they treated people accused of witchcraft in 2 different historical events. - The idyllic period in the US history is the middle of XX century while the 1960s is known as a tumultuous decade. - Ancient Greece VS Ancient Rome. Which civilization had a greater impact on the development of contemporary culture & art? - 3 different branches of Christianity. Common issues, major differences, similarities, examples of traditions, etc. MAKE YOUR STEP TO SUCCESS Political Essay Compare and Contrast Themes These topics cover political science and cultural life of different countries. It is time to evaluate political regimes of different countries. Analyze the countries with the echo of communism and those where capitalism dominates; countries where women and men have equal rights versus countries where women are limited to their rights and freedoms. - Classical Theory of Karl Marx against Modern Capitalistic Movement. Financial and political theories change with the flow of time. High school and college students have to understand the way economics work to get the ideas of different political regimes. - The war in Syria/Military Situation in Ukraine. The countries could make a union based on the fact they are both regularly attacked by two other hostile countries. However, Ukraine is not officially involved in the war, they say. Research what media shares and analyze the given cases. - The government of China VS The government of Korea. Both of these nations suffer from the consequences of communism. The second country, specifically North Korea, supports this political regime more than China. What is different and what's in common? - Welfare Programs in the United States vs. Welfare Programs in the United Kingdom. Although high school and college students believe that these countries look alike in many senses, any related book or movie will show how wrong they are. - Al Qaeda VS the Islamic State. Which of the terroristic organizations have a greater threat to the world’s peace? - Legal systems in the United States & Canada: Are they too different in terms of laws, regulations, preventive measures, and other? - Marriage VS civil union. Which of these types of a partnership between two people in love is less threatening to the image of political figure? - Debit cards and credit cards: The role of government in establishing various payment methods and responsibility it has in case of any rule break - Private & public companies. The obligations American government have concerning each of these types of organizations - Political regime today and back in the 1950s: Things that changed for better and situations that got worse Compare and Contrast Essay Topics for 6th Grade Students who study in the sixth grade have to receive the simplest homework assignments and compare and contrast essay topics for 6th grade as they lack the experience to analyze something more complex than these: - Winter or summer: More gorgeous season of year - Christmas in another country/Christmas at home - Juice VS water: While water may be healthier, juices are tastier and… - Dogs and wolves: Similarities & differences - Weeds and flowers: Why one cannot exist without another - Eastern or Western USA: Living in both parts in different period of time - Comic books or novels: The once which is more interesting to read - Tennis VS ping pong: Your favorite game out of two - Watching TV instead of reading a book: Difference/similarity in impressions - Male friends or female friends: Based on such factors as loyalty, sincerity, bravery, and more Compare and Contrast Topics for Middle School Have a look at the list of compare and contrast topics for middle school! - King Author VS Zeus. One of them is a way cooler than another one - Comparison of the role models in 1950s with modern role models - How does it feel to watch favorite movies in the cinema and watching films at home? - The correlation between famous dictators & school bullies - The consequences of tsunami might be worse than the consequences of hurricane - Prom Night, Halloween Night, & Christmas Night: Which holiday is more fun? - Car driving or bicycle driving: Which experience is more difficult? - 3-star hotels or 5-star hotels: Reasons to choose each of them - Things the early spacemen had in common with Christopher Columbus - People who influence teenagers most of all: Parents and celebrities Compare and Contrast Essay Topics for High School Students If you don't need specific ideas for academic papers, look at the list of general essay topics shared by successful college students. Now, we continue with compare and contrast essay topics for high school. - Fiction or Non-Fiction Literature: Write about which type of literary works is more helpful for college students and why. - Assess High School Examinations & College Tests. What is more important? Which styles are recommended to be used in academic writing when studying in different educational institutions? When is it easier to cheat? - Traditional Learning or Online Learning: Do you find it helpful to be able to take college courses online? Is a traditional way of teaching still better and more effective? - Atlanta Falcons or New England Patriots: Which of the professional sports clubs is more authoritative and loved by high school students? - Determine the effectiveness of online advertising and TV ads. What type of advertising channel is more influential on children? - Printed books/e-Books: Which type of material might be more useful for the modern high school students? - Wooden houses or story buildings. The significance of each type of construction - Major differences and similarities between Portugal & Spain: Where is it better to have a vacation nowadays? - American vision of beauty compared to Japanese vision of beauty: Discuss the standards based on the most recent beauty queens plus handsome men - How rock music has changed: Rock music of early XX century and nowadays Compare and Contrast Essay Topics for College Students Finally, there are many ways you can analyze the life with family and on a college campus; important things to consider while studying at school and in university; passing SAT and taking TOEFL; etc. Enjoy the list of 10 compare and contrast essay topics for college students! - Comparing Life with Parents to Living on Campus: In your essay, write the details about two ways of student's life. Share ideas on why you prefer one of the options (pros and cons of both). - Where is academic rigor the greatest when it comes to comparing high school education and college learning. - While Fall is the season of college arrivals, Spring is the time for student departures. Features of different educational seasons. - Having a look at the meals students get at high school/college and the food they obtain at home from their family members. Which is tastier? - The remote learning courses slowly replace conventional classes in college. Pros & cons of going technological. - Living at home with parents compared to living on the college campus on the example of laundry service, cooking, and other everyday household activities. - Manufacturing jobs against service sector jobs. A right choice of the college student - Part-time jobs VS seasonal jobs: Pros & cons of each option - Private colleges or public education: Reasons to make all educational institutions public in the United States - Advanced placement classes: Better or worse than honors classes? Easy Compare and Contrast Essay Topics If you do not want to go deep into the details breaking the head against the wall, choose one of the easy compare and contrast essay topics! - Twilight & Buffy, the Vampire Slayer. Analyze both shows’ characters - It by Stephen King: Review book with the film - Julius Caesar & Macbeth: Do these people have anything in common? - Realism & modernism. Simple similarities & differences - Poetry VS prose: List literary elements that make these genres different - Life in a big city compared to village life: Discuss where people are healthier, kinder, more honest, etc. - Donald Trump against Hilary Clinton: The one who should have won the latest presidential elections in the United States - Real Madrid & Barcelona: Advantages + disadvantages of both Spanish football clubs - iPhone VS Android mobile devices: Benefits Android users obtain against benefits iPhone users get - Tablets or textbooks in school: Advantages each of these devices have when it comes to the process of learning Things to Compare and Contrast The last category contains the names of subjects only. Those are some great things to compare and contrast! - Jails & Asylums - Renaissance and Baroque Art - Star Wars & Star Trek - American Dad VS Family Guy - Apple or Pineapple - Moon and Sun - Greek VS Scandinavian Mythology - Communism against Capitalism - New England Colonies or Southern Colonies (it is possible to add Middle Colonies) - Fiction VS Non-Fiction Compare and Contrast Essay Example from Writing Guru Students write better papers when they have some good examples in front of them. Looking for the compare and contrast essay example? Find many free samples on the professional academic writing websites or view these powerful papers shared by the top college writers with us. Is it possible to minimize a headache? Once you have read our helpful online article, we would like to offer something you could not even imagine. It is real to save your free time for things like hobbies, parents, and friends with the help of the high-quality compare and contrast essays written by the online academic services. Order an essay on any topic in English! Have the best writers work on your text days and nights until it is perfect enough to bring you A+!

<urn:uuid:04c543cb-195e-4c57-830e-39701f657dac>

CC-MAIN-2019-18

http://qidqk.euweb.cz/500-good-compare-and-contrast-essay-topics.php

s3://commoncrawl/crawl-data/CC-MAIN-2019-18/segments/1555578656640.56/warc/CC-MAIN-20190424194348-20190424220348-00328.warc.gz

en

Book of Esther |Old Testament (Christianity)| The Book of Esther, also known in Hebrew as "the Scroll" (Megillah), is a book in the third section (Ketuvim, "Writings") of the Jewish Tanakh (the Hebrew Bible) and in the Christian Old Testament. It relates the story of a Hebrew girl in Persia, born as Hadassah but known as Esther, who becomes queen of Persia and thwarts a genocide of her people. The story forms the core of the Jewish festival of Purim, during which it is read aloud twice: once in the evening and again the following morning. Esther is the only book in the Bible that does not explicitly mention God. Setting and structure The biblical Book of Esther is set in the Persian capital of Susa (Shushan) in the third year of the reign of the Persian king Ahasuerus. The name Ahasuerus is equivalent to Xerxes (both deriving from the Persian Khshayārsha), and Ahasuerus is usually identified in modern sources as Xerxes I, who ruled between 486 and 465 BC, as it is to this monarch that the events described in Esther are thought to fit the most closely. However, classical sources such as Josephus, the Jewish commentary Esther Rabbah and the Christian theologian Bar-Hebraeus, as well as the Greek Septuagint translation of Esther, instead identify Ahasuerus as either Artaxerxes I (reigned 465 to 424 BCE) or Artaxerxes II (reigned 404 to 358 BCE). Assuming that Ahasuerus is indeed Xerxes I, the events described in Esther began around the years 483–482 BCE, and concluded in March 473 BCE. The Book of Esther consists of an introduction (or exposition) in chapters 1 and 2; the main action (complication and resolution) in chapters 3 to 9:19; and a conclusion in 9:20–10:3. The plot is structured around banquets (mishteh), a word that occurs twenty times in Esther and only 24 times in the rest of the Hebrew bible. This is appropriate given that Esther describes the origin of a Jewish feast, the feast of Purim, but Purim itself is not the subject and no individual feast in the book is commemorated by Purim. The book's theme, rather, is the reversal of destiny through a sudden and unexpected turn of events: the Jews seem destined to be destroyed, but instead are saved. In literary criticism such a reversal is termed "peripety", and while on one level its use in Esther is simply a literary or aesthetic device, on another it is structural to the author's theme, suggesting that the power of God is at work behind human events. The story begins with Ahasuerus, ruler of the Persian Empire, holding a lavish banquet, initially for his court and dignitaries and afterwards for all inhabitants of the capital city, Shushan. On the seventh day, Ahasuerus orders the queen, Vashti, to come and display her beauty before the guests by wearing only her crown. She refuses. Furious, Ahasuerus has her removed from her position and makes arrangements to choose a new queen from a selection of beautiful young women from throughout the empire. One of these is the Jewish orphan, Esther. After the death of her parents, she was fostered by her cousin, Mordecai. She finds favour in the King's eyes, and is crowned his new queen. Shortly afterwards, Mordecai discovers a plot by two courtiers, Bigthan and Teresh, to assassinate Ahasuerus. The conspirators are apprehended and hanged, and Mordecai's service to the King is duly recorded. Ahasuerus appoints Haman as his viceroy. Mordecai, who sits at the palace gates, falls into Haman's disfavour, as he refuses to bow down to him. Having discovered that Mordecai is Jewish, Haman plans to kill not just Mordecai, but all the Jews in the empire. He duly obtains Ahasuerus' permission to execute this plan, against payment of ten thousand talents of silver, and casts lots to choose the date on which to do this—the thirteenth of the month of Adar. When Mordecai finds out about the plan, he implores Esther to try and intercede with the King; but she is afraid to break the law and present herself to the King unsummoned, as this was punishable by death. She orders Mordecai to have all Jews fast for three days together with her, and on the third day she goes to Ahasuerus, who stretches out his sceptre to her to indicate that she is not to be punished. She invites him to a feast in the company of Haman. During the feast, she asks them to attend a further feast the next evening. Meanwhile, Haman is again offended by Mordecai and, at his wife's suggestion, has a gallows built to hang him. That night, King Ahasuerus suffers insomnia, and when he orders the court records be read to him in order to help him sleep, he is reminded of the services rendered by Mordecai in the previous plot against his life. Ahasuerus is informed that Mordecai never received any recognition for this. Just then, Haman appears, to request the King's permission to hang Mordecai, but before he can make this request, King Ahasuerus asks Haman what should be done for the man that the King wishes to honor. Assuming that the man that the King is referring to is himself, Haman suggests that the man be dressed in the King's royal robes and led around on the King's royal horse, while a herald calls: "See how the King honours a man he wishes to reward!" To his surprise and horror, the King instructs Haman to do so to Mordecai. Immediately after, Ahasuerus and Haman attend Esther's second banquet, at which she reveals that she is Jewish and that Haman is planning to exterminate her people, including her. Overcome by rage, Ahasuerus leaves the room; meanwhile Haman stays behind and begs Esther for his life, falling upon her in desperation. The King returns in at this very moment and thinks Haman is assaulting the queen; this makes him angrier than before and he orders Haman hanged on the gallows that Haman had prepared for Mordecai. Instead of annulling the decree, the King reverses it, permitting the Jews to attack their enemies. On 13 Adar, 500 men and Haman's ten sons are killed in Shushan. Upon hearing of this Esther requests it be repeated the next day, whereupon 300 more men are killed. In total, 75,000 Persians are slaughtered by the Jews, who take no plunder. Esther sends a letter instituting an annual commemoration of the Jewish people's redemption, in a holiday called Purim (lots). Ahasuerus remains very powerful and continues his reign, with Mordecai assuming a prominent position in his court. Authorship and date The Megillat Esther (Book of Esther) became the last of the 24 books of the Tanakh to be canonized by the Sages of the Great Assembly. According to the Talmud, it was a redaction by the Great Assembly of an original text by Mordecai. It is usually dated to the 4th century BCE. Shemaryahu Talmon, however, suggests that "the traditional setting of the book in the days of Xerxes I cannot be wide off the mark." The Greek book of Esther, included in the Septuagint, is a retelling of the events of the Hebrew Book of Esther rather than a translation and records additional traditions which do not appear in original Hebrew version, in particular the identification of Ahasuerus with Artaxerxes and details of various letters. It is dated around the late 2nd to early 1st century BCE. The Coptic and Ethiopic versions of Esther are translations of the Greek rather than the Hebrew Esther. Several Aramaic targums of Esther were produced in the Middle Ages of which two survive – the Targum Rishon ("First Targum") and Targum Sheni ("Second Targum") dated c. 500–1000 CE. These were not targums ("translations") in the true sense but like the Greek Esther are retellings of events and include additional legends relating to Purim. There is also a 16th-century recension of the Targum Rishon, sometimes counted as Targum Shelishi ("Third Targum"). The book of Esther falls under the category of Ketuvim, one of three parts of the Jewish canon. According to some sources, it is a historical novella, written to explain the origin of the Jewish holiday of Purim. As noted by biblical scholar Michael D. Coogan, the book contains specific details regarding certain subject matter (for example, Persian rule) which are historically inaccurate. For example, Coogan discusses an apparent inaccuracy regarding the age of Esther's cousin (or, according to others, uncle) Mordecai. In Esther 2:5–6, either Mordecai or his great-grandfather Kish is identified as having been exiled from Jerusalem to Babylon by King Nebuchadnezzar II in 597 BCE: "Mordecai son of Jair, the son of Shimei, the son of Kish, who had been carried into exile from Jerusalem by Nebuchadnezzar king of Babylon, among those taken captive with Jeconiah king of Judah". If this refers to Mordecai, he would have had to live over a century to have witnessed the events described in the Book of Esther. However, the verse may be read as referring not to Mordecai's exile to Babylon, but to his great-grandfather Kish's exile. In her article "The Book of Esther and Ancient Storytelling", biblical scholar Adele Berlin discusses the reasoning behind scholarly concern about the historicity of Esther. Much of this debate relates to the importance of distinguishing history and fiction within biblical texts, as Berlin argues, in order to gain a more accurate understanding of the history of the Israelite people. Berlin quotes a series of scholars who suggest that the author of Esther did not mean for the book to be considered as a historical writing, but intentionally wrote it to be a historical novella. The genre of novellas under which Esther falls was common during both the Persian and Hellenistic periods to which scholars have dated the book of Esther. There are certain elements of the book of Esther that are historically accurate. The story told in the book of Esther takes place during the rule of Ahasuerus, who has been identified as the 5th-century Persian king Xerxes I (reigned 486–465 BCE). The author also displays an accurate knowledge of Persian customs and palaces. However, according to Coogan, considerable historical inaccuracies remain throughout the text, supporting the view that the book of Esther is to be read as a historical novella which tells a story describing historical events but is not necessarily historical fact. Edwin M. Yamauchi has questioned the reliability of other historical sources, such as Herodotus, to which Esther has been compared. Yamauchi wrote, "[Herodotus] was, however, the victim of unreliable informants and was not infallible." The reason for questioning the historical accuracy of such ancient writers as Herodotus is that he is one of the primary sources of knowledge for this time period, and it has been frequently assumed that his account may be more accurate than Esther's account. Those arguing in favour of an historical reading of Esther most commonly identify Ahasuerus with Artaxerxes II (ruled 405–359 BCE), although in the past it was often assumed that he was Xerxes I (ruled 486–465 BCE). The Hebrew Ahasuerus (ʔaḥašwērōš) is most likely derived from Persian Xšayārša, the origin of the Greek Xerxes. The Greek historian Herodotus wrote that Xerxes sought his harem after being defeated in the Greco-Persian Wars. He makes no reference to individual members of the harem except for a domineering Queen consort named Amestris, whose father, Otanes, was one of Xerxes's generals. (In contrast, the Greek historian Ctesias refers to a similar father-in-law/general figure named Onaphas.) Amestris has often been identified with Vashti, but this identification is problematic, as Amestris remained a powerful figure well into the reign of her son, Artaxerxes I, whereas Vashti is portrayed as dismissed in the early part of Xerxes's reign. Alternative attempts have been made to identify her with Esther, although Esther is an orphan whose father was a Jew named Abihail. As for the identity of Mordecai, the similar names Marduka and Marduku have been found as the name of officials in the Persian court in over thirty texts from the period of Xerxes I and his father Darius I, and may refer to up to four individuals, one of which might after all be Mordecai. The "Old Greek" Septuagint version of Esther translates the name Ahasuerus as Artaxerxes, a Greek name derived from the Persian Artaxšaϑra. Josephus too relates that this was the name by which he was known to the Greeks, and the Midrashic text, Esther Rabba also makes the identification. Bar-Hebraeus identified Ahasuerus explicitly as Artaxerxes II; however, the names are not necessarily equivalent: Hebrew has a form of the name Artaxerxes distinct from Ahasuerus, and a direct Greek rendering of Ahasuerus is used by both Josephus and the Septuagint for occurrences of the name outside the Book of Esther. Instead, the Hebrew name Ahasuerus accords with an inscription of the time that notes that Artaxerxes II was named also Aršu, understood as a shortening of Aḫšiyaršu the Babylonian rendering of the Persian Xšayārša (Xerxes), through which the Hebrew ʔaḥašwērōš (Ahasuerus) is derived. Ctesias related that Artaxerxes II was also called Arsicas which is understood as a similar shortening with the Persian suffix -ke that is applied to shortened names. Deinon related that Artaxerxes II was also called Oarses which is also understood to be derived from Xšayārša. Another view attempts to identify him instead with Artaxerxes I (ruled 465–424 BCE), whose Babylonian concubine, Kosmartydene, was the mother of his son Darius II (ruled 424–405 BCE). Jewish tradition relates that Esther was the mother of a King Darius and so some try to identify Ahasuerus with Artaxerxes I and Esther with Kosmartydene. Based on the view that the Ahasuerus of the Book of Tobit is identical with that of the Book of Esther, some have also identified him as Nebuchadnezzar's ally Cyaxares (ruled 625–585 BCE). In certain manuscripts of Tobit, the former is called Achiachar, which, like the Greek Cyaxares, is thought to be derived from Persian Huwaxšaϑra. Depending on the interpretation of Esther 2:5–6, Mordecai or his great-grandfather Kish was carried away from Jerusalem with Jeconiah by Nebuchadnezzar, in 597 BCE. The view that it was Mordecai would be consistent with the identification of Ahasuerus with Cyaxares. Identifications with other Persian monarchs have also been suggested. Jacob Hoschander has argued that evidence of the historicity of Haman and his father Hamedatha is seen in Omanus and Anadatus mentioned by Strabo as being honoured with Anahita in the city of Zela. Hoschander argues that these were not deities as Strabo supposed but garbled forms of "Haman" and "Hamedatha" who were being worshipped as martyrs. The names are indeed unattested in Persian texts as gods, however the Talmud (Sanhedrin 61b) and Rashi both record a practice of deifying Haman and Josephus speaks of him being worshipped. Attempts have been made to connect both "Omanus" and "Haman" with the Zoroastrian term Vohu Mana; however this denotes the principle of "Good Thoughts" and is not the name of a deity.) Christine Hayes contrasts the Book of Esther with apocalyptic writings, the Book of Daniel in particular: both Esther and Daniel depict an existential threat to the Jewish people, but while Daniel commends the Jews to wait faithfully for God to resolve the crisis, in Esther the crisis is resolved entirely through human action and national solidarity. God, in fact, is not mentioned, Esther is portrayed as assimilated to Persian culture, and Jewish identity in the book is an ethnic category rather than a religious one. Additions to Esther An additional six chapters appear interspersed in Esther in the Septuagint, the Greek translation of the Bible. This was noted by Jerome in compiling the Latin Vulgate. Additionally, the Greek text contains many small changes in the meaning of the main text. Jerome recognized the former as additions not present in the Hebrew Text and placed them at the end of his Latin translation as chapters 10:4–16:24. This placement and numbering system is used in Catholic Bible translations based primarily on the Vulgate, such as the Douay–Rheims Bible and the Knox Bible. In contrast, the 1979 revision of the Vulgate, the Nova Vulgata, incorporates the additions to Esther directly into the narrative itself, as do most modern Catholic English translations based on the original Hebrew and Greek (e.g., Revised Standard Version Catholic Edition, New American Bible, New Revised Standard Version Catholic Edition). The numbering system for the additions differs with each translation. The Nova Vulgata accounts for the additional verses by numbering them as extensions of the verses immediately following or preceding them (e.g., Esther 11:2–12 in the old Vulgate becomes Esther 1:1a–1k in the Nova Vulgata), while the NAB and its successor, the NABRE, assign letters of the alphabet as chapter headings for the additions (e.g., Esther 11:2–12:6 in the Vulgate becomes Esther A:1–17). The RSVCE and the NRSVCE place the additional material into the narrative, but retain the chapter and verse numbering of the old Vulgate. - an opening prologue that describes a dream had by Mordecai - the contents of the decree against the Jews - prayers for God's intervention offered by Mordecai and by Esther - an expansion of the scene in which Esther appears before the king, with a mention of God's intervention - a copy of the decree in favor of the Jews - a passage in which Mordecai interprets his dream (from the prologue) in terms of the events that followed - a colophon appended to the end, which reads: In the fourth year of the reign of Ptolemy and Cleopatra, Dositheus, who said he was a priest and Levite, and his son Ptolemy brought the present letter of Purim, saying that it was genuine and that Lysimachus, son of Ptolemy, of the community of Jerusalem, had translated it. By the time Esther was written, the foreign power visible on the horizon as a future threat to Judah was the Macedonians of Alexander the Great, who defeated the Persian empire about 150 years after the time of the story of Esther; the Septuagint version noticeably calls Haman a "Bougaion" (βουγαῖον) where the Hebrew text describes him as an Agagite. The canonicity of these Greek additions has been a subject of scholarly disagreement practically since their first appearance in the Septuagint— Martin Luther, being perhaps the most vocal Reformation-era critic of the work, considered even the original Hebrew version to be of very doubtful value. Luther's complaints against the book carried past the point of scholarly critique and may reflect Luther's antisemitism, which is disputed, such as in the biography of Luther by Derek Wilson, which points out that Luther's anger at the Jews was not at their race but at their theology. The Council of Trent, the summation of the Roman Catholic Counter-Reformation, reconfirmed the entire book, both Hebrew text and Greek additions, as canonical. The Book of Esther is used twice in commonly used sections of the Catholic Lectionary. In both cases, the text used is not only taken from a Greek addition, the readings also are the prayer of Mordecai, and nothing of Esther's own words is ever used. The Eastern Orthodox Church uses the Septuagint version of Esther, as it does for all of the Old Testament. The additions are specifically listed in the Thirty-Nine Articles, Article VI, of the Church of England: "The rest of the Book of Esther". - There are several paintings depicting Esther, including one by Millais. - The Italian Renaissance poet Lucrezia Tornabuoni chose Esther as one of biblical figures on which she wrote poetry. - In 1689, Jean Baptiste Racine wrote Esther, a tragedy, at the request of Louis XIV's wife, Françoise d'Aubigné, marquise de Maintenon. - In 1718, Handel wrote the oratorio Esther based on Racine's play. - In 1958, a book entitled Behold Your Queen! was written by Gladys Malvern and illustrated by her sister, Corinne Malvern. It was chosen as a selection of the Junior Literary Guild. - The play entitled Esther (1960), written by Welsh dramatist Saunders Lewis, is a retelling of the story in Welsh. - A movie about the story, Esther and the King. - A 1978 miniseries entitled The Greatest Heroes of the Bible starred Victoria Principal as Esther, Robert Mandan as Xerxes, and Michael Ansara as Haman. - Episode 25 of the 1981 anime series Superbook involves this story. - The 1983 musical entitled Swan Esther was written by J. Edward Oliver and Nick Munns and released as a concept album with Stephanie Lawrence and Denis Quilley. Swan Esther has been performed by the Young Vic, a national tour produced by Bill Kenwright and some amateur groups. - A 1986 Israeli film directed by Amos Gitai entitled Esther. - In 1992, a 30-minute, fully animated video, twelfth in Hanna-Barbera's The Greatest Adventure series, titled Queen Esther features the voices of Helen Slater as Queen Esther, Dean Jones as King Ahasuerus, Werner Klemperer as Haman, and Ron Rifkin as Mordecai. - A 1999 TV movie from the Bible Collection that follows the biblical account very closely, Esther, starred Louise Lombard in the title role and F. Murray Abraham as Mordecai. - In 2000, VeggieTales released "Esther... The Girl Who Became Queen". - Chosen: The Lost Diaries of Queen Esther by Ginger Garrett. 2005, NavPress. - A 2006 movie about Esther and Ahasuerus, entitled One Night with the King, stars Tiffany Dupont and Luke Goss. It was based on the novel Hadassah: One Night with the King by Tommy Tenney and Mark Andrew Olsen. - Esther is one of the five heroines of the Order of the Eastern Star. - On March 8, 2011, the Maccabeats released a music video called "Purim Song". - The Book of Esther is a 2013 movie starring Jen Lilley as Queen Esther and Joel Smallbone as King Xerxes. - In 2012, a graphic adaptation of the Book of Esther was illustrated by J. T. Waldman and appeared in volume one of The Graphic Canon, edited by Russ Kick and published by Seven Stories Press. - Rossel, Seymour (2007). The Torah: Portion by Portion. Los Angeles: Torah Aura Productions. p. 212. ISBN 978-1-891662-94-2. Retrieved 13 October 2013. - David R. Blumenthal. "WHERE GOD IS NOT: THE BOOK OF ESTHER AND SONG OF SONGS". Retrieved April 19, 2016. - Baumgarten, Albert I.; Sperling, S. David; Sabar, Shalom (2007). Skolnik, Fred; Berenbaum, Michael, eds. Encyclopaedia Judaica. 18 (2nd ed.). Farmington Hills, MI: Macmillan Reference USA. p. 216. - Larkin, Katrina J. A. (1996). Ruth and Esther (Old Testament Guides). Sheffield, UK: Sheffield Academic Press. p. 71. - Crawford, Sidnie White (1998). "Esther". In Newsom, Carol A.; Ringe, Sharon H. Women's Bible Commentary. Louisville: Westminster John Knox. p. 202. - Moore, Carey A. (1971). Esther (Anchor Bible). Garden City, NY: Doubleday. p. XXXV. - E. A. W. Budge, The Chronography of Bar Hebraeus, Gorgias Press LLC, reprinted 2003 - Clines 1984, p. 9. - Jobes 2011, p. 40-41. - Esther chapters 9–10 - Babylonian Talmud: Tractate Baba Bathra 15a - NIV Study Bible, Introductions to the Books of the Bible, Esther, Zondervan, 2002 - Berlin, Adele; Brettler, Marc Zvi; Fishbane, Michael, eds. (2004). The Jewish Study Bible. Oxford University Press. p. 1625. ISBN 978-0195297515. - Shemaryahu Talmon, "Wisdom in the Book of Esther", Vetus Testamentum 13 (1963), p. 453 (at JSTOR, free subscription needed) - Freedman, David Noel; Allen C. Myers; Astrid B. Beck Eerdmans Dictionary of the Bible Wm. B. Eerdmans Publishing, 2000 ISBN 978-0-8028-2400-4 p. 428 books.google.co.uk - George Lyons, Additions to Esther, Wesley Center for Applied Theology, 2000 - Prof. Michael Sokoloff, The Targums to the Book of Esther, Bar-Ilan University 's Parashat Hashavua Study Center, Parashat Tezaveh/Zakhor 5764 March 6, 2004 - S. Kaufman, Cal Targum Texts, Text base and variants, The Comprehensive Aramaic Lexicon, Hebrew Union College – Jewish Institute of Religion - Alan J. Hauser, Duane Frederick Watson, A History of Biblical Interpretation: The Ancient Period, Wm. B. Eerdmans Publishing, 2003 - Coogan, Michael David Coogan, A Brief Introduction to the Old Testament: The Hebrew Bible in Its Context (New York: Oxford University Press, 2009), 396. - Sidnie White Crawford, "Esther", in The New Interpreters Study Bible New Revised Standard Version with the Apocrypha, ed. Walter J. Harrison and Donald Senior (Nashville: Abingdon Press, 2003), 689–690. - New King James Version, translation of Esther 2:6 - Bromiley, Geoffrey W. (Editor), International Standard Bible Encyclopedia, Volume II, 1982, Wm. B. Eerdmans Publishing Co. p. 159 (entry: Book of Esther) - Wiersbe,Warren W., Bible Exposition Commentary: Old Testament History, David C Cook, 2004 p. 712 - Adele Berlin, "The Book of Esther and Ancient Storytelling", Journal of Biblical Literature 120. no. 1 (Spring 2001): 3–14. - Adele Berlin, “The Book of Esther and Ancient Storytelling", Journal of Biblical Literature 120. no. 1 (Spring 2001): 6. - "The archaeological background of Esther: archaeological backgrounds of the exilic and postexilic era, pt 2". Bibliotheca sacra 137, no. 546 (1980), 102. - http://ccat.sas.upenn.edu/nets/edition/17-esther-nets.pdf Note on two Greek versions of the book of Esther - Jacob Hoschander, The Book of Esther in the Light of History, Oxford University Press, 1923 - Hayes, Christine (2006). "Introduction to the Old Testament (Hebrew Bible) — Lecture 24 — Alternative Visions: Esther, Ruth, and Jonah". Open Yale Courses. Yale University. - see the NAB online for the passages - Frederic W. Bush, "The Book of Esther: Opus non gratum in the Christian Canon", Bulletin for Biblical Research 8 (1998), p. 39 - Article VI: Of the sufficiency of the Holy Scriptures for Salvation Archived November 10, 2007, at the Wayback Machine. - Robin, Larsen and Levin. Encyclopedia of women in the Renaissance: Italy, France, and England. p. 368. - Books of the Bible Christian Bookstore. "I Have A Song – Shannon Wexelberg". - "The Internet Antique Shop – The Web's largest antiques & collectibles mall serving collectors since 1995". - Tania B (5 November 2000). "Esther". IMDb. - "The Maccabeats – Purim Song". YouTube. Retrieved 2011-08-09. - "The Book of Esther (2013)". IMDb. 11 June 2013. - Clines, David J.A. (1984). The Esther Scroll. A&C Black,. - Jobes, Karen H. (2011). Esther. Zondervan. - Beal, Timothy K (Timothy Beal). The Book of Hiding: Gender, Ethnicity, Annihilation, and Esther. NY: Routledge, 1997. Postmodern theoretical apparatus, e.g. Jacques Derrida, Emmanuel Levinas - Extract from The JPS Bible Commentary: Esther by Adele Berlin: Liberal Jewish view. - Fox, Michael V. Character and Ideology in the Book of Esther, 2nd ed. Wipf & Stock, 2010 — highly regarded literary analysis - Sasson, Jack M. "Esther" in Alter and Kermode, pp. 335–341, literary view - The Historicity of Megillat Esther: Gil Student's survey of scholarship supporting an historical reading of Esther - Esther, Book of: A Christian perspective of the book. - Thespis: Ritual, Myth, and Drama in the Ancient Near East by Theodor Gaster. 1950. - White, Sidnie Ann. "Esther: A Feminine Model for Jewish Diaspora" in Newsom - Esther (Judaica Press) translation [with Rashi's commentary] at Chabad.org - Cumming, Rev. J. Elder DD The Book of Esther: Its spiritual teaching London: The Religious Tract Society, 1913 - Ecker, Ronald L. The Book of Esther, Ecker's Biblical Web Pages, 2007. - Fischer, James A. Song of Songs, Ruth, Lamentations, Ecclesiastes, Esther. Collegeville Bible Commentary. Collegeville, MN: Liturgical Press, 1986. - Fox, Michael V. Character and Ideology in the Book of Esther. Grand Rapids, MI: Eerdmans, 2001. - Hudson, J. Francis Esther: For Such a Time as This. From Character and Charisma series. Kingsway, 2000. - Levenson, Jon D. Esther. Old Testament Library Series. Louisville, KY: Westminster John Knox, 1997. - McConville, John C. L. Ezra, Nehemiah, and Esther. Daily Study Bible Series. Philadelphia: Westminster, 1985. - Moore, Carey A. Esther. Anchor Bible, vol. 7B. Garden City, NY: Doubleday, 1971. - Paton, Lewis B. A Critical and Exegetical Commentary on the Book of Esther. International Critical Commentary. Edinburgh, Scotland: T&T Clark, 1908. - Hazony, Yoram. God and Politics in Esther. Cambridge: Cambridge University Press, 2016. - "Esther, Book of". New International Encyclopedia. 1905. - "Esther, Apocryphal Book of". New International Encyclopedia. 1905. |Wikimedia Commons has media related to Book of Esther.| |Wikisource has original text related to this article:| |Wikisource has original text related to this article:| Text and translations - Jewish translations - Christian translations - Bible: Esther public domain audiobook at LibriVox Book of Esther |Hebrew Bible|| Succeeded by| | Succeeded by| | Succeeded by|

<urn:uuid:ad24b9db-dfab-431f-a06f-37ee5d7f9810>

CC-MAIN-2019-18

https://ipfs.io/ipfs/QmXoypizjW3WknFiJnKLwHCnL72vedxjQkDDP1mXWo6uco/wiki/Book_of_Esther.html

s3://commoncrawl/crawl-data/CC-MAIN-2019-18/segments/1555578613603.65/warc/CC-MAIN-20190423194825-20190423220825-00048.warc.gz

en

During the third century AD, Plotinus, who was a Neo-Platonist, changed the traditional view of Beauty accepted earlier in antiquity. Beauty had been considered to be the symmetry of parts, but Plotinus defined Beauty differently—a Principle created and emanated an Idea, which could also be called Beauty. Additionally, he argues that each part of a whole does not specifically have Beauty; instead, the individual parts combine, contributing to make the final product beautiful. However, he continues, if the whole is considered Beautiful, the parts must also be beautiful because the whole could not be made of ugly parts. Plotinus wrote his views concerning his contemporaries, and there is a connection between his aesthetic theories and Roman art of the time. The aesthetic theoretical implications of Roman art, specifically of the kind outlined by Plotinus, have not been explored thoroughly, according to Thea Ravasi. In Roman art, there are a few portrayals of Omphale, the queen of Lydia, and Hercules, the demigod, which are seen in sculpture, fresco, and mosaic. Although a variety of mediums are used, analyzing the various representations of Omphale and Hercules presents what Romans prized aesthetically—or the combination and juxtaposition of the ideal and the real, the feminine versus masculine—revealing the play between male and female gender roles during the Roman era. To begin, understanding the depictions of representations of Hercules and Omphale depends on knowing the myth. While there are numerous versions, in the telling used for the purpose of this paper, Hercules desired to atone for murdering one of his friends, Iphitus. After consulting the oracle Apollo, the god advised Hercules to serve Omphale, Queen of Lydia, even though Hercules, a son of Zeus, was famous because of his exceptional strength. Despite the change in status from a son of a god to a slave, Hercules still completed the tasks Omphale gave him, which she, as the queen, tailored for him specifically. There were numerous tasks, such Hercules being forced to do women’s work and wear women’s clothing. For example, he had to hold a basket of wool, while Omphale and her maidens worked on the spinning. Moreover, while Hercules wore women’s clothing, Omphale wore the Nemean Lion skin. In Greek mythology, the Nemean lion was a vicious monster. Because of its golden fur, it could not be killed by humans’ weapons and its claws were extremely sharp. Hercules killed the Nemean lion as the first of the twelve labors that King Eurystheus required. Omphale not only wore the lion skin but also carried the club of Hercules’. Tertullian (c. 155–240), an early Christian author who lived in a Roman province in Africa, writes about the pagan myth, which is surprising given his Christian background. He reasons that the skin must have been “softened, smoothened, and freed from stench for a long time, as had been done, so I presume, in Omphale’s house, by means of balsam and fenugreek oil” because Tertullian believed that not even the strongest of women could have held up, let alone wear, the mighty lion skin. Nevertheless, over time, Omphale fell in love with Hercules because of his strength and handsome features, and the couple married. This myth was used in Roman political maneuvering. Yet artists throughout time have explored the gender roles of the myth in art. The following sections will explore various Roman artistic representations of the myth through the mediums of sculpture, fresco, and mosaic. A unique sculpture is Portrait Statue of Woman in form of Omphale, which is located currently in the Vatican Museum (Fig. 1). In funerary Roman art, the deceased individual’s portrait sometimes included a mature face juxtaposed with an ideal body comparable to the gods, which was popular among the Roman nobility and the wealthy. This sculpture shows a middle-aged woman with an elaborate hairstyle, indicating the Severan period, which occurred from AD 193 to AD 235. The hairstyle is parted in the middle, with two braids in the front, framing her face; there appears to be slight waves in her hair that cover her ears. There is the Nemean lion head covering, although no Hercules is included. The figure is almost completely nude; the claws of the lion reach towards her nipples, and a cloth, coming from behind, rests by her side, and her right hand holds it closely to her body in front of her genitalia. Quite a bit of skin, which appears smooth and tangible, is showing, and her left arm cradles the club. With this sculpture of Portrait Statue of Woman in form of Omphale, the ideal and the realistic are portrayed. There is a great contrast between ideal body type, such as one of a goddess like Venus, and realistic facial portrait of this middle-aged woman. She stands serene and divine looking with elegant contrapposto, while her face is clearly aged older than the rest of the body. The nudity of statues becomes a type of costume, which gives resemblances of divinity to the portrait of the deceased. Visually, these juxtaposed styles of the old and the new look strange and even incoherent for modern viewers; however, Plotinus and other Romans of this time would have found these portrayals to be aesthetically pleasing. Beauty, during this time, was the unity of the composed individual parts. Therefore, because the parts are beautiful, here the idealized body as well as the aged face, the whole is considered beautiful. Additionally, the parts considered masculine (e.g., the lion skin and club) juxtaposed with the parts considered feminine (e.g., the long hairstyle, the goddess-like body, the smooth skin, and graceful elegance) combine to create an object of Beauty. It is unclear why this woman would have chosen to be shown in the form of Omphale. Of course, Omphale is a woman of great authority, as her country’s sole leader. Therefore, the woman whose portrait was being made may have desired to be associated with that strength and resilience. Another juxtaposition is the sophisticated, detailed hairstyle, indicated earlier as a style from the Severan era, versus the lion skin. The hairstyle is meant to be seen because the lion skin is placed quite a bit back on her head. If this occurred in real life, the skin would probably fall over from the weight of the head; therefore, this woman obviously wanted her hairstyle to be visible. During the Roman period, beauty was connected with physical features as well as feminine virtue. If a women had an elegant hairstyle, she was seen as being both beautiful and virtuous. Therefore, unique and elaborate hairstyles showed women, especially of the upper classes, as having traits of the ideal Roman woman while also being stylish and affluent. Hairstyles were used by the upper-class women to push political or social agendas, depending on who was ruling at the time. Perhaps the woman depicted as Omphale desired to present herself as an ideal Roman woman and citizen by following the hairstyle trends of the time. At the same time, this sculpture emphasizes her strength or even maybe her position of power if she belonged to the upper classes, which would make sense given the quality of this statue. Another reason this woman may present herself as Omphale could be to associate herself with the goddess Venus. When creating portraits and life-size statues, the body type and overall portrayal reflected trends in politics, religious affiliations, and personal taste. For Roman women, the selection of the body type portrayed reflected a particular role. It was important as well as difficult for Roman women “to fashion themselves as fit but amply endowed, wealthy but modest, elaborately coiffured but capable of working with wool, and sensuous but models of correct behavior.” These roles were portrayed through the selection of body types; the body type became a type of façade that was connected with various Roman goddesses, who were recognizable by the general populace. By choosing a particular body type, the bearer also took on the characteristics of that goddess. For example, the goddess Venus was associated with not only attractiveness but also fertility. Here this woman has the body type of Venus, with a flawless figure, perhaps to present herself as desirable and fertile. Her aged face, in contrast, emphasizes her wisdom and experience, which could be associated with Omphale, a wise and competent ruler. This contrast of hyper-feminine with the naturalistic features shows that wealthy, upper-class women of the time had a great say in how they wanted to be presented. The decision to not include Hercules is an intriguing one. Of course, no Hercules could be shown because perhaps the woman shown here is unmarried or desired a representation of only herself. With the patriarchy of Roman society, women were expected to fulfill values—chastity, fertility, beauty—that men desired. This portrait of the woman as Omphale stands in contrast to patriarchal expectation of Roman women. She seems to associate herself with Queen Omphale, who had political power typically associated outside a Roman woman’s world, and Venus, who was a goddess of great beauty and fertility, which are associated with the child-bearing and the home. Additionally, she maintains a realistic portrait for her face, therefore combining different worlds into one thoughtful presentation. This portrait is a deliberate decision in complex, multi-referential representation. This woman does not need a cross-dressing Hercules because these juxtapositions in style and references emphasize her own power and decisions in how she presents herself and how she wants others to see her. Another example of a statue, quite different from the portrait statue discussed above, is included in a marble statue group of Hercules and Omphale, now located in Naples at the National Archaeological Museum (Fig. 2). This Roman statue comes from first century AD. Omphale is shown wearing Hercules’ cloak and lion-skin headdress, which is further up on her head than the woman’s portrait as Omphale. The claws of the lion do not come down her chest here, and she does not attempt to make herself modest, as seen previously. Instead, the cloak wraps around her left thigh, and her genitalia is completely exposed. Additionally, she leans on the club of Hercules, which is in her left hand this time. In contrast, Hercules, who is dressed in a woman’s tunic that slips off his shoulder in a Venus-like manner, wears wears a woman’s snood and holds skeins of wool in his hands with wool basket at his feet. Hercules’ cork-screw curls create a prominent beard, and both of them stand in contrapposto that are a reflection of the other—Omphale’s left leg bends, and Hercules’ right leg bends. While classical in style in many ways, Hercules’ legs look stubby and shorter than expected. However, these shorter legs make the couple close to the same height and, consequently, the same level. In this sculpture, Hercules does not appear to be ashamed of being dressed in women’s clothing, which could be because there are other Greek and Roman stories with cross-dressing men. For example, Achilles’ mother hides her son from the Greeks, who are preparing for war and want Achilles, the great warrior, to join them. Because his mother is concerned that he might die, she hides him in a palace of young women, and he is dressed as a woman to fit in with his surroundings. However, when Odysseus pretends to be a peddler and goes to the palace to catch Achilles, Odysseus places swords underneath the other trinkets in order to catch Achilles, who is interested in weapons. As depicted in the Sarcophagus of Alexander Severus and Mammaea, the scene in the sarcophagus shows Achilles reaching out to grab and examine the weapons with his female clothing falling off, revealing who he is (Fig. 3). One reason that Roman artists may not show Hercules and Achilles as being ashamed of dressing in women’s clothing is because it is only momentary, since the viewers know that men will go back to their traditional clothing. Another reason could be that both of these men are renowned for their fighting and masculinity; even though they dress in women’s clothing, it is easy to see that Achilles and Hercules are actually men—not women—with ripped muscles and hyper-masculine, idealized forms. Both the man and woman are portrayed positively in the marble statue group. Silberberg-Pierce discusses that Roman art conveys a positive portrayal of women in paintings, writing that “[t]his model can profitably be applied to all Roman art production: it represents a woman’s view, one which, until recently, has been effectively suppressed.” This work is a sculpture and not a painting but still depicts women, specifically Omphale, positively. Hercules and Omphale are quite close to being the same height, which suggests a type of equality, since one is neither higher nor superior over the other. Standing quite close together, Omphale’s arm wraps around Hercules with her left hand on his shoulder in a posture of consultation and mutual admiration. Additionally, she is confident in her sexuality and in her strength. The viewer sees Omphale looks towards Hercules, who gazes off into the distance, as their bodies appear to be melding into one. Because of the mirroring poses and touch between each other, they are shown as a unified couple, and no hierarchy of one being greater than the other is suggested. Rather that suggesting a power play dynamic here, the couple looks supportive and united because despite their separate parts, their concord and union exhibits Beauty. This section addresses another medium—frescos—depicting Hercules and Omphale. During the Imperial Roman period from 27 BC to AD 284, a portrayal of Hercules and Omphale was painted in a basilica in Pompeii, which is now in the Museo Archeologico Nazionale di Napoli in Naples, Italy (Fig. 4). The viewers see Hercules standing before Omphale, shown as an enthroned, regal queen with a laurel-wreath crown. Nike, the winged goddess representing victory, is shown floating above him. Additionally, a small boy, which could represent the god Pan, holds pipes and stands behind Omphale. There are an eagle and a lion on either side of Hercules. In the left-hand corner, the viewers see Hercules’ son, Telephos, who is sucking on a doe. This depiction contrasts greatly with the previous two examples examined in the sculpture section. This portrayal presents a power dynamic between Hercules and Omphale. Omphale sits above him powerfully and looks off into the distance while placing her hands on her face with a contemplative look, as if considering the tasks that she will require of him. Therefore, this scene foreshadows the task of cross-dressing that will later take place because of the lion in the bottom right-hand corner (e.g., since Omphale will wear the lion skin that Hercules had killed) and the imbalanced power of master versus slave. His shame is evident and reflects the fact that he will soon have to wear women’s clothing as part of his atonement for killing his friend, since he must obey whatever she orders. There is no freedom or liberation for Hercules, and Omphale’s gaze suggests one of independence and supremacy. In contrast to Omphale’s dominance, Hercules looks down in shame rather than looking Omphale in the eyes, which contrasts to the statue of the couple. His backside is exposed, revealing round buttocks and muscular back, arms, and legs. Eve D’Ambra argues that male full-frontal nudity “appears active and aggressive” when compared to the modest nude of Venus; however, male nudity here does not exude confidence or “personal agency” for Hercules, perhaps because it does not depict full-frontal nudity. Therefore, if male nudity suggests aggression, then female nudity would be considered passive or less active because the Venus figure is not always completely nude but tries to cover herself partly in order to be considered beautiful. By being clothed, Omphale could be seen as taking on a more active role. Another reason could be reflective of female responses to prostitution in Pompeii because immodesty was associated with prostitution. Women, who were wealthy and belonged to the upper classes, actively exhorted for a return to propriety and written engravings even appeared on the walls of the Triclinia in Pompeii. While impositions of enforced morality may seem strange to modern viewers, it still presents active and involved women in Pompeii, which is reflective of the active, strong depiction of Omphale. This portrayal shows an exception to Roman Beauty because of how this strong, powerful-looking woman still follows a very classical style, such as how the drapery rests against Omphale’s body. The viewer sees the suggestion of her body underneath, the shading on the arms and her face, and the perspective of the three-quarter view of her serene, goddess-like face. The individual parts independently all have Beauty with the idealized parts contributing to Beautiful, idealized figures of the whole, even though the scene or event may seem somewhat mismatched, such as the male being naked and exposed before the woman. Another fresco in Pompeii depicting Hercules and Omphale dates from the first century BCE, now located in Naples at the National Archaeological Museum (Fig. 5). In this depiction, Omphale holds a leaf-fan and looks down at Hercules with a mystified expression on her face. Hercules is already wearing the woman’s dress with a wreath on his head, reclining drunkenly with one of his arms in the air. Hercules’ strange depiction could explain the puzzled expressions on the women’s faces. Surprisingly, while Hercules already wears the women’s clothing, Omphale is still wearing her own feminine clothing and not Hercules’. Perhaps one reason this portrayal is shown this way could emphasize the humor of the event. Hercules is not ashamed but rather inebriated and acting and looking ridiculous, while Omphale maintains her dignity. Omphale is placed at a higher level, emphasizing her position of power and her sober status, rather than having them on the same plane. Another reason for this portrayal could be showing why Omphale decided to dress in male clothing. The viewers see the putti figures attempting to lift the heavy club of Hercules up to the level where Omphale is sitting. Hercules is reduced to a comical, lower level by dressing in women’s clothing, but Omphale will be empowered even more by dressing in his clothing because it shows her strength and grandeur. Although the four putti figures can barely lift the club, but she will not only carry the club but also wear the heavy lion skin. In this fresco, Omphale is not alone or only with Hercules but has female companions. The tunic slips off her Omphale’s shoulder, similar to Venus, as seen with the marble statue group of Hercules and Omphale; however, with that statue, it was Hercules’ shoulder that was exposed from the women’s clothing slipping off on that side. Yellow and greyish-purple tones mark Omphale’s clothing. On her sides, Omphale not alone here but surrounded by two young girls. The one maiden on Omphale’s left also mimics her queen, since her shoulder is also bare, and she wears white. This girl is much smaller than Omphale, although it is unclear whether or not she is supposed to be younger or the same age. On the other side, the maiden on Omphale’s right holds her hand up to her face and looks with a quizzical expression on her face. Her clothing is in nude and green colors, and her navel is visible through the transparent clothing. This maiden is taller than the other one, but her proportions are strange and curved, making her appear serpentine instead of human. In contrast, Omphale appears to have the best proportions and follows the classical style the most with natural drapery and goddess-like elegance and beauty. The women’s appearances emphasize Pompeii standards of beauty. Their hair is piled up on top of their heads. Roman women used hairpins, typically made out of bone, ivory, glass, gold, or silver, to style their hair, which were described as being tapered at the end (Fig. 6 and Fig. 7). For hairdressing, hairpins were also used to separate locks and to pin up and hold the hair in place once the style was completed, and these devices could range from simple to elaborate. Because hairpins are not often shown in depictions, it is believed that Roman women typically preferred the pins to be unseen and hid them in their hair. In this fresco, little white, shiny dots are seen in the women’s hair, which would suggest a decorated end of the pin. These hairpins were the most common way of adorning hair in Pompeii. All three women wear gold necklaces and bracelets and earrings that appear to have pearls, which was considered precious in Pompeii. Ancient sources called the S-shaped hook with the pearl pendants as stalagmium, which had precedents from the Hellenistic Grecian period (Fig. 8). This style continued until the third century AD—well after Pompeii was destroyed. In Western society, we often associate jewelry with femininity, so it is interesting that Omphale wears not only her feminine clothing but also jewelry, which emphasizes her femininity instead of when she cross dresses and takes on the masculine role. In the previous section with the sculptures, no jewelry or hair accessories were shown, which presents something unique here that reflects Pompeii beauty practices and emphasis on the feminine beauty in contrast to other Roman women. The labors of Hercules are frequently depicted in Greek and Roman art, but this section on mosaic will examine a depiction of Hercules with Omphale in the center of a floor mosaic found in Llíria (i.e., Valencia), which is now in the National Archeological Museum of Spain in Madrid (Fig. 9). Spain was part of the Roman empire at this time of the third century AD. Figure 10 shows a close up of the mosaic, and Hercules is shown holding a ball of wool and dressed in women’s clothing; although most of the dress is damaged, the bottom reveals different colors of blue limestone that represent the dress. Omphale wears the lion skin, which is difficult to tell, except for the two pointy ears sticking out. She holds the olive-wood club of Hercules, as well, while reclining on a throne, which had been damaged with several tiles missing. The figures are not proportionate because if Omphale stood up, she would be considerably taller than Hercules. Additionally, there appears to be drapery of sorts covering the bottom half of her body, but her breasts and navel are uncovered. The bubble-looking object in Omphale’s right hand is unknown. In this mosaic, no setting is shown with white and cream-colored tiles being the only background. The piece is more abstract than the sculptures and frescos; for example, Omphale’s fingers as rows of brown and white tiles. Facial expressions are difficult to determine, given the nature of mosaic tiles and the relative level of abstraction here, making it impossible to determine whether, for instance, Hercules is embarrassed or Omphale is empowered. Their direct gaze towards each other is at the same level, suggesting a type of equality. This mosaic shows the cross-dressing of both Hercules and Omphale together at the same time, which marks ambiguities concerning gender roles in Roman society. Because of the abstraction, the psychological and emotional impact on both of this change in roles and clothing is indeterminable, making this mosaic unique when compared to the sculpture and fresco examples. This paper has considered various representations of Hercules and Omphale in mediums, such as sculpture, fresco, and mosaic. Sometimes only Omphale or Hercules is portrayed or only one cross dresses. A strength of sculpture is that the viewers are able to walk around and examine the work from multiple angles, while mosaic and fresco present only one perspective. However, for fresco, it is easier to present more of the narrative, multiple figures, and setting, which is how the viewers understand more of what is happening in the story. In contrast, the mosaic appears to be the most limited, given the damages and abstraction. These mediums reveal what is emphasized in Roman aesthetics, not only the ideal versus the real, but also the representation of interactions between men and women. Sculpture presents strong, powerful women as having Beauty, while the mosaics focus on feminine beauty for Omphale. However, Omphale is depicted as serious when wearing Hercules’ clothing, while Hercules is humorous to look at or looks preposterous when wearing women’s clothing. Plotinus believed that if the whole is considered Beautiful, the parts must also be beautiful because the whole could not be made of ugly parts; hence, the masculine parts of women and feminine parts of men—often shown by clothing—are not actually ugly but have Beauty because the whole is beautiful. These depictions justify representing women in masculine clothing, which presents a less rigid view of gender and gender relationships recognized in contemporary Roman society. Brilliant, Richard. Visual Narratives: Storytelling in Etruscan and Roman Art. London: Cornell University Press, 1984. D’Ambra, Eve. Roman Art. Cambridge: Cambridge University Press, 1998. D’Ambrosio, Antonio. Women and Beauty in Pompeii. Trans. Gram Sells. Naples:<<L’erma>> di Bretschneider, 2001. D’Avino, Michele. The Women of Pompeii. Trans. Monica Hope Jones and Luigi Nusco. Napoli: NA, NA. “F26.1 Herkales & Omphale.” Theoi. Accessed February 18, 2016. http://www.theoi.com/Gallery/F26.1.html. Fantham, Elaine, Helen Peet Foley, Natalie Boymel Kampen, Sarah B. Pomeroy, and H. A. Shapiro. Women in the Classical World: Image and Text. Oxford: Oxford University Press, 1994. Kleiner, Diana E. E. and Susan B. Matheson. “‘Her Parents Gave Her the Name Claudia.’” I Claudia II: Women in Roman Art and Society. Austin: University of Texas Press, 2000. Koortbojian, Michael. Myth, Meaning, and Memory on Roman Sarcophagi. Berkeley: University of California Press, 1995. McManus, Barbara F. “Index of Images, Part XIV.” Vroma. Accessed February 15, 2016, http://www.vroma.org/images/mcmanus_images/index14.html. Pomarède, Vincent. “Hercules and Omphale.” Department of Paintings: French painting. Louvre Museum. Accessed March 28, 2016. http://www.louvre.fr/en/oeuvre-notices/hercules-and-omphale. Ravasi, Thea. “Displaying Sculpture in Rome.” A Companion to Ancient Aesthetics. Eds. Pierre Destrée and Penelope Murray. Sussex: Wiley Blackwell, 2015. Silberberg-Pierce, Susan. “The Muse Restored: Images of Women in Roman Painting.” Woman’s Art Journal 14 (1993): 28–36. Tertullian. De Pallio. Ed. Vincent Hunink. Tertullian website (2005). Accessed March 28, 2016. http://www.tertullian.org/articles/hunink_de_pallio.htm. Tuck, Steven L. A History of Roman Art. Oxford: Wiley Blackwell, 2015. Diana E. E. Kleiner and Susan B. Matheson, “‘Her Parents Gave Her the Name Claudia,’” I Claudia II: Women in Roman Art and Society, (Austin: University of Texas Press, 2000), 11. For example, Augustus’s wife, Livia, wore her way in order to contrast to their Egyptian enemy Cleopatra and her intricate hairstyle because Livia sought to promote simple Roman values and morality and Roman-ness. See ibid., 12. Ibid., 12. Ibid., 13. Barbara F. McManus, “Index of Images, Part XIV,” Vroma, accessed February 15, 2016, http://www.vroma.org/images/mcmanus_images/index14.html. Like Achilles, Hercules is often shown on Roman sarcophagi. One of the most renowned myths, of Hercules retrieving Alcestis, is commonly depicted. See Michael Koortbojian, Myth, Meaning, and Memory on Roman Sarcophagi, (Berkeley: University of California Press, 1995) 112. Another example of Hercules depicted on Roman sarcophagi includes the Velletri sarcophagus. See Steven L. Tuck, A History of Roman Art, (Oxford: Wiley Blackwell, 2015) 264. Susan Silberberg-Pierce, “The Muse Restored: Images of Women in Roman Painting,” Woman’s Art Journal 14 (1993), 35. “F26.1 Herkales & Omphale,” Theoi, accessed February 18, 2016, http://www.theoi.com/Gallery/F26.1.html. Eve D’Ambra, Roman Art, (Cambridge: Cambridge University Press, 1998) 109. Michele D’Avino, The Women of Pompeii, translated by Monica Hope Jones and Luigi Nusco, (Napoli: NA, NA) 72. Barbara F. McManus, “Index of Images, Part XIV,” Vroma, accessed February 15, 2016, http://www.vroma.org/images/mcmanus_images/index14.html. Antonio D’Ambrosio, Women and Beauty in Pompeii, translated by Gram Sells, (Naples: <<L’erma>> di Bretschneider, 2001) 16. Ibid., 38. Ibid., 40. The Twelve Labors of Hercules is shown on the metopes of the Temple of Zeus at Olympia. See Richard Brilliant, Visual Narratives: Storytelling in Etruscan and Roman Art, (London: Cornell University Press, 1984) 37. On the Roman Velletri sarcophagus, Hercules is shown performing the twelve labors. See Steven L. Tuck, A History of Roman Art, (Oxford: Wiley Blackwell, 2015) 264.

<urn:uuid:2351c553-ca88-4a3c-b1b9-ddf9ecb4dcca>

CC-MAIN-2019-18

https://thebippityboppitybeautifulblog.com/roman-ideals-of-beauty-and-playing-with-gender/

s3://commoncrawl/crawl-data/CC-MAIN-2019-18/segments/1555578586680.51/warc/CC-MAIN-20190423035013-20190423061013-00530.warc.gz

en

Different Drummers: Using Music to Teach History Try to imagine life without music. No rock ‘n' roll, no blues, no country, no classical, no rap, no jazz, no folk. No way! Music does not just entertain or refresh us, it also helps to establish who we are. According to ethnomusicologist Bruno Nettl, "One cannot really understand a culture without taking into account the almost inevitably great importance of its music." 1 We have only to glance at our students and listen to them to understand that music is important to them. Music, musical styles, and music videos permeate their consciousness; their dress and vocabulary reflect their dedication to the culture of popular music. They are more familiar with music than they are with books. One day it struck me, as I was considering ways to enliven my classes in world history and Western civilization, that I could turn my students' passion for music into an asset. In fact, the time they spend in the classroom is probably the only time in their day when they are not exposed to music. This may be a good thing, but it can also make the classroom seem less exciting than life "on the outside," and it limits the tools teachers have to stimulate classroom participation. When professors teach about Mughal India or Renaissance Italy they often show slides of the Taj Mahal or of Michaelangelo's sculpture to illustrate abstract ideas, but pictures are two-dimensional representations, and sculptures and buildings don't move. When I play an Indian raga or an Italian madrigal, my students begin to think about past cultures in a new way and with unexpected excitement. I myself do not read music or play any instruments, nor am I "musically inclined." I say this to reassure readers that musical skills are not needed to use music in class. All that is needed are the same reflective and critical skills we employ when we read a book. There is nothing mysterious about using music to teach history, even if the music itself arouses a sense of mystery and curiosity. As history teachers, we often use documents to introduce our students to the values, practices, ideals, and conflicts that inform and structure a historical culture and the social relations within it. Music is also a primary cultural source that can provide teachers with a novel way to engage students with historical issues, to get them to practice skills of analysis, and to promote cross-cultural understanding. Musical selections should be treated like any other historical document: they should be regarded as creations of a specific time and place that we can use to illustrate points about class, gender, cultural values, politics, and economic life. Of course, we should be careful not to overgeneralize about a culture on the basis of a few musical selections, just as we must use caution when discussing a document. What makes music a wonderful primary source for students to investigate is its accessibility, especially if the instructor provides historical context and some questions to guide their inquiry. Students can listen to a Confucian court song and get a sense of what it expresses. Such direct access to written cultural artifacts in the classroom is impossible. Students are thrilled by the immediacy of music, even if a song communicates little about a society that has long since disappeared and in which students have no other interest. Music grabs their attention; it is expressive and arouses emotional states of awareness. It has been used by most cultures to accompany and enhance such diverse activities as worship, contemplation, storytelling, mourning, healing, consumption, and social criticism. Societies also use music to endow abstract ideas with sensuality and form, and music can give even metaphysical concepts a physical and immediate presence in the classroom. Because it engages students' minds and emotions, music is a powerful instructional tool that helps students remember information and theories. Playing music, then, is a way for instructors to spark student interest and to introduce a culture or an era in a new and memorable way. The kinds of music one includes in a history course depend upon the nature and scope of the course and the goals set by the instructor, but teachers can introduce music successfully at any grade level, from primary school through university. What follows is focused on introductory college world history courses that I have taught. The content of these courses allows great scope in exploring a wide variety of musical styles and sounds. The major exceptions to this claim are in the areas of ancient history: we do not know what ancient Greek, Roman, Egyptian, Babylonian, Mayan, or Olmec music sounded like. Many of their instruments exist and some musical notations survive, but since we do not know how to read the notations, there are no completely accurate reproductions of this early music. We do have some idea, however, of how ancient Chinese and Indian music sounded. The earliest Chinese musical text comes from the 10th century c.e. (Song dynasty), but many scholars believe that oral tradition preserved, with a great degree of accuracy, some of the songs from the sixth century b.c.e. (the later Zhou era of Confucius) until they were written down later. Religious chants for the Rig Veda, which are performed today in India, are probably fairly accurate presentations of music that is over 2,500 years old, because there is and was an emphasis on perfect performance: believers thought the slightest mistake in singing could harm the universe and have serious consequences for life on earth. Most history instructors can use music for a variety of purposes. It can help refresh material for students before introducing a new unit or on the eve of exams. For example, before completing a segment on slavery in the United States or before an exam containing questions on slave culture and resistance, a teacher could play slave spirituals like "Steal Away to Jesus" or "Swing Low, Sweet Chariot," ask students to recall specific details about slave life, and explain how the words or melody of the songs reflect aspects of slave culture on 19th-century plantations. The music helps the ideas stick. Music can also reinvigorate lectures, or at least provide interesting breaks. An Indian raga, which was music for the upper class, can illustrate a lecture point on the opulence, sensuality, and religious mysticism of the early Mughal Empire more effectively than a picture of the Taj Mahal can. It can also provide a transition between a point on the growing importance of Sufism and devotional bhakti cults in 16th-century Indian cultural life and on their influence on the imperial Mughal court and its style of rule. For help in understanding Indian classical music, see A. Daniélou's The Ragas of Northern Indian Music (1968), A. Prajnananda's A Historical Study of Indian Music (1965), and Bonnie Wade's Music in India: The Classical Traditions (1979). Music also works as a starter for small- or large-group discussions. The kinds of questions you ask students to consider as they listen to the music depend on the grade level of the class, your own expectations of their work, and the limitations time always imposes. I tend to ask general questions that can be used over and over again and that allow students latitude as they formulate their responses: What do we know about the society that produced this music? What mental picture does it create? What mood does it set? How does it set it? How does it fit (or not fit) with what we have learned about the culture or era that created it? I keep the questions simple and few so all can be addressed. Complexity can be added through follow-up questions based on the diversity of responses received. Repeating the same questions familiarizes students with the procedure, relaxes them so they can concentrate on the music, and gets them used to thinking about certain key issues when they listen to music in class. Finally, music can stimulate a writing project. I usually use the same questions I employ for discussion, and this recycling has comparable advantages of familiarity and simplicity. The writing project can take more than one day; it can also be assigned as homework, as an in-class exam, or as the centerpiece of a take-home exam. I sometimes have students write down their responses to the music I play and my questions about it before I start a discussion, because writing helps them focus their thoughts and gives them more time for reflection. Musical excerpts should be short (three to four minutes) for a couple of reasons: they can be repeated if necessary and brevity leaves time for discussion. Brief excerpts also maintain students' interest and attention better than half-hour segments from concerts, which often inspire students to count holes in ceiling tiles. Short excerpts of many of the musical selections discussed below can be found on a cassette tape entitled "Experiencing World Music" that comes with the Instructor's Manual for Peter Stearns et al., World Civilizations: The Global Experience (1992). Music and Cosmic Order On the first day of my world history course I like to play songs from a recording of Australian aboriginal music. (The songs can be found on sound disks that accompany Elizabeth May, ed., Musics of Many Cultures .) Iplay the music as students enter the class, and I ask them what culture created the music and where it is from. Most have no idea; they think it comes from another world and, in a way, it does. The music is low, guttural, rhythmic, droning, and lacks harmonies. I use it to introduce hunting and gathering societies, societies that left no written record for historians to ponder. It is my way of giving paleolithic peoples some "presence" in the classroom, and the vibrating bass sounds of the didjeridu fill seemingly empty space very well. While we do not know what music in Eurasia sounded like 20,000 years ago, aboriginal music, even after contact with Europeans, provides one way to acquaint students with the musical sound and beliefs of a paleolithic people who may have migrated from south India. Some useful introductions to aboriginal music and culture are Catherine J. Ellis's Aboriginal Music Making (1964), her "Structure and Significance in Aboriginal Song" in the journal Mankind (June 1969), and Theodore G. H. Strehlow's Songs of Central Australia (1971). Aborigines believe that once the world was created, the flows of nature had to be stimulated by human rituals of music, art, and dance. This belief was and is shared by many other peoples: Aztecs, Mayas, Incas, Navahos, and Chinese Confucians, to name a few. Music was and is used by Australian aborigines, Native Americans, and Confucians to restore order and balance in the world and to maintain harmony with nature. An example of Chinese orchestral music that is based on Confucian ideas is "Receiving the Approaching Spirit" (on the cassette tape provided with World Civilizations). It was adapted by Koreans and performed in ninth-century court rituals. It gives us an idea of how neo-Confucian culture, which emphasized order, virtue, harmony, and tradition, "sounded." The instruments used to create this music were made from the eight elements of the earth: stone, wood, leather, silk, gourd, metal, bamboo, and clay. Confucians believed that by "orchestrating" the sound these instruments made, they could influence the cosmic order and create world harmony. Music thus served political, metaphysical, and moral ends. To Westerners the music sounds disorderly, cacophonous, clangy, and atonal. Discussion of it is always lively because it thwarts students' expectations in a number of ways and gets them to rethink their ideas about cultural perceptions. Playing the song allows me to introduce a discussion of the social and ideological force that music had in Chinese and Sinophilic cultures. For further information on Chinese and East Asian music consult Kuo-huang Han and Lindy Li Mark, "Evolution and Revolution in Chinese Music," Music of Many Cultures, Elizabeth May, ed. (1980); Frederic Lieberman's Chinese Music: An Annotated Bibliography (1970); Laurence Picken's "The Music of Far Eastern Asia: China" in The New Oxford History of Music, vol. 1(1957); Eta Harich-Schneider's A History of Japanese Music(1973); and Shigeo Kishibe's The Traditional Music of Japan(1966). Music and Politics Like their neo-Confucian contemporaries, the leaders of the Roman Catholic Church in the European Middle Ages used spiritual music for conscious political ends. Beginning about the seventh century c.e., popes strove to unify Western Christendom by codifying rituals and asserting papal primacy in matters of church doctrine and practices. This centralizing effort, which lasted centuries, was a major feature of papal politics, and popes dispatched musical ambassadors to propagate the sanctioned form of religious service. Regulating music was just one way they tried to unify doctrine and control the practices of local bishops and monasteries. After lecturing on some of these points, instructors could play the "Agnus Dei," one of the "politically correct" songs of the eighth century, to start a class discussion of the emotional impact of music and its uses as propaganda. Another way to look at the political role of music is to play any of the operas written by Jean-Baptiste Lully when the class reads about the era of Louis XIV. Most texts emphasize that Louis employed culture in a self-conscious way as part of his state-building project. In addition to showing slides of Versailles, one could play part of a Lully opera during a lecture on the Sun King. Lully's themes were classical and based on the tragedies of Racine and Corneille, but they also had nationalistic overtones and embodied the splendor, grandeur, and confidence that Louis wanted to project to his subjects and to the world. The music is centrally controlled and orchestrated in a way that Western ears will find familiar: one can picture a central conductor and all of the instruments functioning in unison to produce melodious sounds. Lully's pieces are powerful and symbolize harmony and national unity. They can be useful in introducing students to another facet of the centralizing tendency of the French state: the standardization of culture in the age of the baroque. There is a rich literature on European music since the Middle Ages. Some books worth perusing are Howard M. Brown's Music in the Renaissance (1976); Richard Pauly's Music in the Classic Period (1988); Donald Jay Grout's A History of Western Music (1980); Rey Longyear's Nineteenth-Century Romanticism in Music (1988); Eric Salzman's Twentieth-Century Music: An Introduction (1988); and Simon Frith's Sound Effects. Youth, Leisure, and the Politics of Rock ‘n' Roll (1981). Music, Cultural Identity, and Critical Thinking Teachers can also use music to introduce students to larger thought problems. For example, classical Persian music (ca. 1000 c.e.) is characterized by melodic improvisations, expressions of sorrow and desire, and free rhythmic compositions when played solo. It mixed ancient Babylonian and Greek musical practices with seventh-century Arab music. It was the music of the Sufis. They appreciated it for its melancholy sound and the sense of longing it expressed. It was music for mystics and romantics. A piece performed in the classical Persian style, "Shustari," is on the cassette that accompanies World Civilizations. Its lyrics convey profound sorrow and distress: "No one now can sacrifice my soul/ My heart is not captured by any love . . ./ Nothing can make me happy. . ./ No queen sits on the throne of my heart.2 Play it, or some other piece of classical Persian music. Ask students about the mood it sets and the culture that produced it. Ask them what they think inspired such music. You can then introduce them to the following controversy concerning the inspiration for Persian music. Some ethnomusicologists suggest that the geography of Iran explains the sadness of its classical music: the country, mostly desert and high mountains, presents a harsh, haunting, and forbidding landscape. But for ethnomusicologist Ella Zonis the history of Iran, with its many long foreign occupations since the time of Alexander the Great, provides a more compelling explanation.3 Ask students which explanation, environmental or historical, they find more persuasive and why. Ask skeptical students what evidence they think would be needed to support one side or the other and if that evidence could be found. Students might decide that neither explanation suffices. These discussions could lead into a forum on the building and testing of theories in history and other social sciences. Folk Music, Popular Culture, and Politics While most of the music discussed so far has been elite music, playing popular music allows us to look at the lives and beliefs of ordinary people. A distinctive type of popular music that has influenced the music of distant continents is the folk music of Africa. African music is always stimulating to students: it has a strong beat and rhythm and usually makes them want to get up and dance. This is no accident. Much African music was created for public events and celebrations and usually involved the participation of the community. In West Africa, the Ewe people lived since the 17th century in independent communities in what is now Ghana, Togo, and Benin. They never formed a single centralized state but, given their earlier experience with slavery, they made temporary alliances in time of war to preserve their independence. "The Great Oaths War Dance," included on the World Civilizations cassette, reflects part of the Ewe's experience. Originally this music accompanied a war dance and was meant to create euphoria and inspire warriors to heroic deeds. In the 20th century the music and dance have become part of building cultural identity: they celebrate the exploits and achievements of past Ewe warriors. The Ewe excel at complex and intricate drumming; most of the instruments in the song are percussive, and the tune really "rocks." Responding to questions I pose, students usually envision a collective dance of tremendous joy and energy. Since music and dance were integral parts of traditional life in Africa, I always play music in my classroom when I introduce students to African beliefs about the cosmos, nature, and human society. Good places to start learning about African music and its social and historical context are A. M. Jones's Studies in African Music (1959); J. H. Nketia's The Music of Africa (1974); and Klaus Wachsmann, ed., Essays on Music and History in Africa (1971). * * * African music has, of course, greatly shaped the music of the Americas. African songs, dances, and sensibilities were preserved by Africans who worked as slaves on plantations in the United States, Brazil, and the Caribbean. Out of African rhythms and musical motifs came Negro spirituals, blues, jazz, rock ‘n' roll, reggae, samba, and more. In tracing the influence of African music on the popular cultures of North and South America, teachers could draw attention to important themes in black history in the Americas—racial oppression, the desire for personal and social autonomy, persistence, cultural and intellectual creativity, rebellion, and resistance. Playing blues, jazz, or reggae in class can also lead to discussions of the contributions of Africans to the cultural richness of the Americas with their Native American, European, and African heritages. Books that treat these themes are James Cone's The Spirituals and the Blues: An Interpretation (1991); Jim Merod's Jazz as a Cultural Archive, a specially edited issue of the journal Boundary 2 (summer 1995); Arnold Shaw's Black Popular Music in America: From the Spirituals, Minstrels, and Ragtime to Soul, Disco, and Hip-Hop (1986); Frank Tirro's Jazz: A History (1980); John Storm Roberts's Black Music of Two Worlds(1974); and Luiz Heitor Correa de Azevedo's Brief History of Music in Brazil (1948). * * * Folk music is also the music of social protest. Lower classes have always produced music that expresses their interests, desires, and view of the world. In the 20th century, a premier writer of protest songs was Woody Guthrie who was a major influence on songwriters such as Pete Seeger, Bob Dylan, and Joan Baez. Guthrie's "I Ain't Got No Home in This World Anymore" was a song of social protest that dealt with issues of class. Playing it is a poignant way to start students thinking about the Great Depression of the 1930s. The song is a biting critique of America's business culture; it reflects the heightened class consciousness of the 1930s and the anger of working-class people. It also invites comparisons with our own times, with our millions of homeless, record business failures and foreclosures, farm crises, unemployment, and xenophobia. Teachers could ask if any popular singer today fills a role like Woody Guthrie's and if so how. What is similar and different about the 1930s and the 1990s? What was and is the role of media in defining, limiting, and promoting popular tastes and ideas? Such questions get students to reflect upon their own experience historically and to begin applying some of the critical techniques we use in history to understand their own lives and sense of identity. H. Wiley Hitchcock's Music in the United States: A Historical Introduction (1969) and Paul Griffiths's The Thames and Hudson Encyclopaedia of 20th-Century Music (1986) are useful guides to American music and its history. * * * Since the mid-1970s, global capitalism has undergone a restructuring that has included, among other things, the concentration of ownership in the transnational music industry and the development and spread of new technologies (audio cassettes, music video, and satellite broadcasts), which have facilitated the worldwide dissemination of music. This economic restructuring and the resulting global reach of Western media corporations helped create the conditions for "world beat" or "world music," a transnational popular music in which Western pop and rock stars appropriate sounds from traditional African songs for their music, jazz musicians incorporate Indian rhythms into their melodies, and Third World musicians add Western rock and pop to their indigenous musical styles. Paul Simon's controversial 1986 Graceland album is a prime example of this synthesis. Of course, the process of musical appropriation has occurred throughout history. Classical Persian music was a synthesis of Greek, Babylonian, and Arabic music, rock n' roll and jazz are modern fusions of African and European musical forms, and South African popular music in the 1980s was greatly influenced by African American music from the 1950s and 1960s. What is new is that these functions are happening at an international rather than a national or a regional level and they are often propelled by the economic rationale of transnational corporations. World beat offers history instructors a rich gateway to a number of contemporary issues. Teachers could use world-beat music to discuss the nature of postmodernism and cultural diversity as well as the many levels of capitalist globalization and the electronically mediated "information age." They may also want to consider in class whether the world's cultures are becoming increasingly homogenized, what cultural and political resistances there are to globalization, how national and regional identities are affected by international cultural transfers, and how equal or unequal the transfers are. Listening to world beat can stimulate a discussion of the way capitalism treats culture, whether technology is ideologically neutral, how globalization involves a growing transfer of resources from South to North (this transfer also includes cultural resources), and the place of women in world music and global economic restructuring. Good sources to begin with in learning about world beat are Steven Feld's "Notes on World Beat," Public Culture Bulletin (fall 1988); Reebee Garofalo's "The Internationalization of the U.S. Music Industry and Its Impact on Canada," Cultural Studies (October 1991); Andrew Goodwin and Joe Gore's "World Beat and the Cultural Imperialism Debate," Socialist Review (July-September 1990); and Roger Wallis and Krister Malm's Big Sounds from Small Peoples: The Music Industry in Small Countries (1984). * * * There are many kinds of music that could have a significant place in history courses. I cannot, of course, highlight them all in this article. Playing Andean music, with its haunting flutes, is an excellent way to present an indigenous culture in South America, the pressures it faces, the resilience it shows, and the beauty of its customs. Similarly, recordings of Navaho music provide an entry into indigenous culture in North America. Instructors can use the melodies and rhythms of classical Arabic music to depict the richness and sophistication of the Umayyad and Abbasid empires. Teachers who are interested in these areas should consult Gertrude P. Kurath's Dance and Song Rituals of the Six Nations Reserve, Ontario (1968) and her Music and Dance of the Tewa Pueblos (1970); David P. McAllester's Peyote Music (1949) and his Indian Music of the Southwest (1961); Gilbert Chase's A Guide to the Music of Latin America (1962); A. L. Lloyd and Isabel Aretz de Ramon y Rivera's Folk Songs of the Americas (1966); Robert Stevenson's Music in Aztec and Inca Territory (1968); Josef Pacholczyk's "The Music of the Arabic Near East" in Grove's Dictionary of Music and Musicians (1980); and Henry George Farmer's "The Music of Islam" in New Oxford History of Music (1957). Music written and performed by female artists can be an important component of any history course. Janet Nichols's Women Music Makers (1992) is an excellent short study on a number of female composers in Europe and the United States since the Renaissance. Using music in the classroom enhances students' understanding of history and makes past cultures come alive—it also makes teaching more enjoyable. The room lights up when music is played. Students are suddenly interested in cultures they were indifferent to or unaware of before. If you can operate a tape deck or a phonograph, all you need is time to review songs, to play them in class, and to discuss the music and relate it to the themes of the course. In addition to the sources I have already mentioned, there are several concise pieces on using music in the classroom that are helpful. One is "The Place of Music in Teaching World History" by Jane Adas in the Instructor's Manual for World Civilizations. At the end of each chapter in the Instructor's Manual there are short commentaries about the songs on the cassette tape that accompanies World Civilizations. The commentaries offer brief suggestions on how to integrate the songs into lectures and recommendations for long-play recordings that could be used. I have used some of these suggestions to great advantage and they, together with some of the background information provided in the commentaries, appear in this essay. Another worthwhile place to look for suggestions is the final section of the Instructor's Guide for Witt, Brown, Dunbar, Tirro, and Witt's The Humanities, 4th ed.(1993). It even offers help on how and where to find recordings. Its focus is on Western music, but it has good guides to African and African American music as well. Along with some rather technical discussions and brief histories of musical forms, Musics of Many Cultures, cited above, contains three seven-inch sound discs with recordings of African, Asian, Native American, Latin American, and Australian aboriginal music. Bruno Nettl's Excursions in World Music (1992) has excellent essays and comes with a good selection of sound recordings as well. Finally, Simon Frith's World Music, Politics and Social Change (1989) and Reebee Garofalo's Rockin' the Boat: Mass Movements and Mass Music (1992) have helpful articles on changes in recent popular music around the world and on how those changes relate to and inspire social and political movements. There is clearly a great deal of literature about the social, cultural, political, and economic importance of music that could be tapped into as instructors think of ways to make the study of history more engaging for students. So turn it on, crank it up, and let the good times roll! —Alex Zukas is chair of the Department of Social, Cultural, and Literary Studies at National University in San Diego. He specializes in modern European social, economic, and political history. He is currently completing articles on the social condition, mentalité, and politics of unemployed workers in the Ruhr region of Germany during the Weimar Republic. An article about teaching the history of modern imperialism will appear in the winter 1997 issue of the Radical History Review. This article was developed by Robert Blackey. Tags: Resources and Strategies Please read our commenting and letters policy before submitting.

<urn:uuid:3fa9ede8-894b-4a74-a34d-81c322b0a442>

CC-MAIN-2019-18

https://www.historians.org/publications-and-directories/perspectives-on-history/september-1996/different-drummers-using-music-to-teach-history

s3://commoncrawl/crawl-data/CC-MAIN-2019-18/segments/1555578650225.76/warc/CC-MAIN-20190424154437-20190424180437-00442.warc.gz

en

Of all of the questions we received on homeschooling through high school with the Charlotte Mason Method, the area that raised the most concerns, by far, was composition. I find that fact interesting . . . and a bit ironic. Think about it. Most of us were given the traditional and typical separate classes focused on lessons in composition from first grade through twelfth grade. And most of us feel unqualified or ill prepared to guide our children to write well. Somewhere that twelve-year, isolated approach to writing failed us. Happily, Charlotte Mason’s approach to composition is quite different. Yet many of us struggle with trusting it and find ourselves continually drawn back to the less effective methods just because they are more familiar or because our friends are using them. So I’m glad you’re asking the questions that will help you break free from the everybody-should-sound-the-same type of writing lessons and give your children a better way—the Charlotte Mason way. Let’s take a look at how composition should be taught in high school. High School Question #42: My main concern with high school is teaching composition and assigning grades for transcripts. As with many things, composition in a Charlotte Mason high school is a continuation of skills that were taught and practiced in the earlier grades. Beginning in first grade, oral narration gives the student practice in the mental process of composition. In fact, Charlotte called oral narration “oral composition.” Once his handwriting is well established and he has gained skill in oral narration, the student begins to do some written narration, usually around fourth grade. Those narrations are not separated from the rest of his studies; they are integrated into his history or geography or Bible or science lessons. As the student becomes comfortable capturing his thoughts and getting them onto paper, he then becomes ready for some guidance in strengthening that skill. So the following years, including high school, add a focus on helping the student fine tune his ability to communicate on paper. That’s the big picture. You can also watch our overview video on The Natural Progression of Language Arts to see how other aspects of a Charlotte Mason approach support composition. The questions below will dive into details. (See the High School Questions #22 and 23 in the post, Courses, Credits, Grades, and Transcripts, for help with the transcript part of the question.) High School Question #43: Lots of sample narration questions for high schoolers. I just get so stumped, especially when I’m not reading the book too. By the high school years you can use a wide variety of narration requests, including narrative, descriptive, expository, and persuasive prompts. You will find sample narration questions in the narration post, Raising the Bar. And the book, Your Questions Answered: Narration, includes lots of sample questions and sample narrations from Charlotte’s students and modern-day students. You’re right, trying to facilitate a narration without having read the book is very difficult. It can feel like asking a person to translate a sentence into German when you don’t know the language! So I encourage you to do all you can to learn along with your student and enjoy the benefits of filling your own mind with the wonderful ideas in the living books he is reading. See the narration post, An Added Bonus, for some encouragement and practical tips for making that happen. High School Question #44: On narrating: this may be a bit if a side topic, but i would love to see a way to share narration questions that are book specific, particularly for these high school years. Many of us are not able to keep up with reading along and if the student is a reluctant narrator, it is hard to get him to share enough good material to be able to come up with challenging and book appropriate prompts for written narration. I get the idea and the huge range of possibilities for expanding these to take care of most, if not all high school composition… But I would love to have a trusted resource I could put in Victory in the Pacific, and have a few suggestions come up for upper level narration. Book-specific narration prompts are a great help, especially for those upper level narrations. That’s why we are working on adding more titles to the Narration Notecards collection, and high school level books are high on the list. Each set of cards is book specific. The cards give beginner, intermediate, and advanced narration prompts for every chapter, any of which can be used at various times for high school students. High School Question #45: The forms scaffolding and narration can take at the high school level. The simplest form of narration (and don’t be deceived by that term “simplest,” it’s actually quite demanding to do) is to retell what you just read, putting it in your own words. But there are many other ways to narrate. This list of ideas may help. Scaffolding is a term that educators use when talking about different ways to support a student in the learning process, as a scaffold is a support for those working on a construction project or large art mural, for example. Scaffolding can include such techniques as showing an example, demonstrating how to do something, talking through a thought process, comparing a new experience to a known one, giving definitions ahead of time, using visual aids, or allowing extra time for the student to talk through something before doing it. Scaffolding techniques can vary widely, depending on the student’s needs. But a key feature of scaffolding is that it is a temporary support, just as a construction scaffold is temporary. Your goal is to gradually fade it out of use as the student grasps the concept and demonstrates that he is able to apply it across different situations or assignments. The next question and answer (below) give an example of scaffolding. High School Question #46: I think my biggest problems is writing/composition, written narrations, having them read instead of me. I have a son who is an audio learner and does so much better narrating when he listens. But I want him to read more, visually see good writing, and practice writing better. It is a struggle. These are topics I would love discussed. Some people do find it easier to process when they listen to someone talk or read aloud rather than read for themselves. But, you’re right, it is important that a student learn to read for himself—to see the words and sentences on the printed page—in order to reinforce proper spelling, capitalization, and punctuation. The more he sees it done correctly, the easier it will be to do it correctly in his own writing. Here is an idea that might help bridge the gap and strengthen his reading-for-himself skills. You might allow him to listen to an audio version of the book he is assigned, and require him to read along with the audio in a printed copy. That way he is still getting the audio input but he is also seeing the words on paper. Then you might alternate every other chapter: chapter 1 is listened to and read, chapter 2 is only read, chapter 3 is listened to and read, chapter 4 is only read, etc. As he becomes more comfortable with that process, you can phase it out more by using the audio only every third chapter, etc. You want to acknowledge the way that student learns best, but you also need to help him learn skills that will be needed in his future life. He won’t always have an audio version to depend on in every situation, so try to use temporary scaffolding to help him gradually develop the skill of capably comprehending the written word. High School Question #47: How can I encourage and motivate my very practical hands-on son to be positive about his written work? This is another example of respecting how a person is wired while also helping him to develop skills that will be a benefit in his future life. It’s good that you recognize that your son is a “very practical hands-on” person. Those traits can help you know what direction to take with his writing. Too many parents mistakenly hold up written work as the epitome of an educated person. They think that a student’s writing is the litmus test of whether he is well educated or intelligent. Such is not the case. Thomas Edison is not known for his essays. Not everyone is designed to be a brilliant writer, and that’s okay. On the other hand, everyone can benefit from being able to clearly and accurately express their thoughts. So I encourage you to focus on helping your son learn to communicate in writing what is in his mind—accurately and thoroughly—without pressuring him to be another Longfellow. It might be helpful to discuss with him the advantages, and even importance, of being able to give clear instructions in writing. He may need to document a hands-on repair job or send someone an explanation of how to problem solve a troublesome engine or hard drive. He can probably see the steps in his mind, but it will be valuable to be able to communicate exactly what is in his mind to someone else’s mind. He needs motivation to work on that skill. You might encourage him to practice writing with topics that interest him. For a simple example, if he were reading Farmer Boy by Laura Ingalls Wilder, he could explain how a certain tool was constructed and how it worked for his narration of a particular chapter. (Along those lines, he would probably enjoy Diary of an Early American Boy by Eric Sloane.) Be careful not to overload him with written narration assignments. Better to concentrate on a few well-written pieces than waste his time and yours on many poorly-written ones. And of course, try to encourage him more than correct him. Focus on improving just one or two points at a time in his writing. And be sure to continue oral narration to reinforce the mental process of communicating clearly and accurately. High School Question #48: My main concern is that we have so far been following a CM-ish method. My 13 yr old son is not proficient in the art of narration. He can orally narrate fairly well, but he has not written any. I have not been requiring many narrations, because we had been so bogged down with other course “requirements”. Going forward from here, I want to make sure he is prepared for a CM high school education. So I guess I need to know where I need to “catch up”. First, don’t panic. You still have several years to fine tune his composition. The good news is that you have been working on a strong foundation with oral narration. So continue to assign good living books for him to read and continue to require oral narrations. Then ease into the written side of things. You might require one written narration per week this year. Next year require two per week, and continue to add another one each year. By the time he graduates, he will be doing at least four written narrations every week. That’s a respectable amount. You can also ease into the different types of narration that you require. Since he has been doing oral narrations, I assume he is pretty familiar with a narrative style (tell the story). So start with that type for his first few written narrations. After a few weeks of narrative, ask for some descriptive narrations (describe how something looks) as the chapter lends itself to that style. You can spend all of this year working on narrative and descriptive to help him get comfortable with capturing his thoughts and getting them down on paper. Next year add expository (explain how something works) to the mix, so you can ask for any of the three types—narrative, descriptive, expository—in your twice a week written narrations that year. The following year add the final type, persuasive (state an opinion and support it), as you increase the number of written narrations to three per week. I think you get the idea. All you have to do is lay out a simple plan to gradually get to your goal. You have time. Just work the plan. The following questions and answers will give you more practical ideas. High School Question #49: I would love to see more details from SCM about how to help our high school students develop their writing skills for college. I need more guidance in how to help my kids polish their narrations and become proficient writers. One of the key differences between a Charlotte Mason approach to composition and a typical composition course is that Charlotte Mason sought to cultivate each student’s individual writing voice. The goal is to encourage and equip each unique person to better communicate his own ideas. So she was very careful not to squelch the student’s enthusiasm with an overload of expectations and corrections all dumped on him at once. The oral narrations and written narrations in the earlier grades encourage him in the process. The polishing aspect should happen only one or two points at a time. Focus on one area that needs improvement. Talk about it with your student. Show him examples of how it should be done correctly. Work with him to correct that one aspect in a recent written narration. Then tell him that he is responsible to incorporate that aspect correctly in his next narration. Hold him accountable for it and continue to encourage him in it. As he shows continuous progress in that area, repeat the process with another aspect. You’ll find more ideas in the questions and answers to follow. High School Question #50: I’ve always struggled with the confidence and know how to teach high school writing (and know what to teach) with my children. There are often book lists of recommended living books to read, how do I use these books to teach good essay writing and other writing? It’s important when teaching composition to differentiate between the voice of the author and the format of the written piece. Of the two—the voice and the format—the hardest part is developing a good writing voice. So Charlotte focused on that aspect throughout the grade levels by using wonderfully written books. The living books cultivate your student’s expectations of good writing; plus, they give examples of well written ideas in various voices. (They reinforce the mechanics of spelling and punctuation and good grammar too, by the way.) Living books—read and narrated—are about the voice. As your student spends time with excellent authors, his writing voice continues to be influenced and shaped by them. The other part of composition—the format of the written piece—is the easier part to learn. You can know what form is expected in a five-paragraph essay, but if you have nothing to say or cannot get your thoughts captured on paper you’re stuck. So cultivating that unique writing voice is the main focus. Then in the high school years, you can take a look at some specific types of papers that will most likely be expected in college and give your student practice in formatting his writing in that fashion. Which brings us to the next question. High School Questions #51 and 52: How do you teach high school level writing (all forms) and research? How does one go from narration to writing different types/forms of essays, research papers etc. that colleges are looking for? First, let’s identify what colleges are looking for. Most every paper that college professors will assign will be either a research paper or some type of essay. And lest that word essay should unnerve you, it simply means “a short piece of writing on a particular subject.” So if you focus on just those two formats, your student should be adequately prepared. An essay can take various tones, such as a narrative essay, a descriptive essay, an expository essay, or a persuasive essay. Do those terms sound familiar? They are the four types of narrations we’ve already talked about assigning to your student (in Questions #43 and 48 above). Other types of essay can include comparison and contrast, tracing cause and effect, and arguing both sides of a case. Those are standard critical thinking skills that Charlotte Mason recommended including in upper grade narration questions and discussions. So about the only type of essay that is not already covered in narrations is the literary essay. For that format and the research paper format, I like to recommend a succinct, clear resource from Analytical Grammar. They have a series called Beyond the Book Report. Look for Season 3 in that series; it teaches the literary essay and the research paper. It also covers a couple of other essays and giving an oral presentation. Best of all, it is a video course, so you can rest easy that a 34-year veteran language arts teacher is doing the instructing. High School Question #53: How to move from written narrations to more formal writing? Would you just teach so they know it and then go back to regular written narrations or do you begin to give guidance to narrations or do you use more formal on exams? Once you have taught the essay and the research paper format, you can include those in your written narration requirements. Since the essay is a short piece, it could easily be used as a regular narration prompt interspersed with other types of narrations. Exam week would be an ideal time to assign a longer paper, such as a research paper. Now, keep in mind that if college is not the best route for a particular student, you might not need to worry about teaching those structured formats of writing. That’s a decision that should be made intentionally for each student. (See High School Question #38.) High School Question #54: One question I have is about reading. Obviously CM’s method is predicated on reading small amount of material at a time and processing it deeply. However in college I was often expected to read hundreds of pages a week for several different class, with the expectation that I would scan for the most important ideas and then synthesize across several sources. How can I make sure my students are prepared for college level reading without sacrificing CM’s ideals of depth? Also, I know CM asked students to do compare/contrast or synthesis etc. on her exams, but that was only at the end of the term. During the term did she really only have high schoolers narrate back from one source at a time, or did she expect them to do more analysis, synthesis, etc.? The ideal situation is to read smaller portions of a single source and have time to digest them thoroughly. But as you point out, our students may not be given the ideal situation in college level classes. That is another reason we recommend that you use a few textbooks in high school—advanced science courses are a logical choice—and that you spend some time teaching your student how to use a textbook. (See High School Question #27.) But you don’t need to use textbooks for every subject. You can still use living books, shorter readings, and time for processing in other subjects, like history, geography, Bible, and literature. A mixed balance is best. Regarding analysis and synthesis, Charlotte Mason explained that narration and discussion at the upper levels can include requests to give “the points of a description, the sequence of a series of incidents, the links in a chain of argument . . . . others are to enumerate the statements in a given paragraph or chapter; to analyse a chapter, to divide it into paragraphs under proper headings, to tabulate and classify series; to trace cause to consequence and consequence to cause; to discern character and perceive how character and circumstance interact; to get lessons of life and conduct” (School Education, p. 180). Many times discussions naturally lead into analysis and synthesis in various forms. You could ask for some narrations like that, but let me encourage you to keep the main goal in mind even as you guide your student in giving critical-thinking responses. Whatever and whenever you ask for such a response from your student, make sure he has thought deeply enough to have formed a just opinion for himself. Be on guard against the tendency (and it’s one that we may all be guilty of) of simply repeating an opinion he has picked up second-hand in order to appear knowledgeable and check off the assignment. High School Question #55: Should we discuss things after narration or not? How do we keep from giving our opinions to teenagers? How to facilitate CM discussion? How often? What about Literary Analysis? The older your student gets, the more interesting your discussions can become. By all means, allow time for discussions after narrations. Sometimes you may have a discussion question prepared; other times you might allow the student to initiate a discussion if desired. One family I know uses the supper table as the setting for discussions on books that family members are reading, current events, plays, art, museum visits, and anything else that they have experienced recently. Of course, make sure that such a discussion is amiable and conducive to a pleasant meal together. You can certainly give your opinion to your students. Charlotte Mason warned against offering opinions that have no basis in principle. So whenever you give your opinion, make sure your children know the timeless principle behind it and your thought process in order to arrive at it. Good discussions will grow from open-ended questions, rather than single-answer or guess-what-the-teacher-is-thinking type questions. And they grow best in an atmosphere of candor and respect. Encourage your students to express their thoughts openly and also to respectfully listen to others’ thoughts as they are expressed frankly and openly. Candor goes both ways and is a habit that Charlotte Mason encouraged us to cultivate in our children. Literary Analysis lends itself well to discussions. During various discussion on a book you can use analysis terms—such as plot, character development, setting, point of view, theme, and tone—appropriately and expand on them over time rather than dissecting that book to bits and stealing all the joy from reading it. Discussions are a great time to gauge your student’s thought processing and help guide him in logical thinking. You can also reinforce the concepts of strong and weak supportive evidence during discussions. But in order to be allowed that privilege of peeking into your high school student’s thoughts, you will need to secure an atmosphere of unconditional love and acceptance. Good discussions include atmosphere, discipline, and life: a living idea being discussed candidly, courteously, and logically in an atmosphere of mutual love and kindness. I hope these questions and answers have been helpful. Next time we will wrap up this series by discussing the challenge of starting with Charlotte Mason methods in high school. More Narration Answers Narration is a can’t-do-without method in your Charlotte Mason home school. Your Questions Answered: Narration gives you more great answers to the questions real homeschool moms ask about narration. This handy, practical reference book collects answers from years of blog posts, web pages, and conversations all in one place.

<urn:uuid:730bbfb0-bc15-41cd-9e70-7838da742324>

CC-MAIN-2019-18

https://simplycharlottemason.com/blog/narration-composition-high-school-years/?shared=email&msg=fail

s3://commoncrawl/crawl-data/CC-MAIN-2019-18/segments/1555578529898.48/warc/CC-MAIN-20190420160858-20190420182858-00331.warc.gz

en

If you’re struggling to verify the identities of multiple interactive ancestors – especially ancestors who went by the same name – here’s one low-tech, but highly effective way to do it: This document, from our work at hisxmark.com, compares five men who went by the same name in two South Carolina counties in the late 1700s. It uses color coding to track the appearances of related family names throughout the period, enabling easy recognition of patterns. If you’d like to use the same process, you’ll need more patience than book smarts. You can use Word – a program that almost everyone can access. Simply paraphrase all known records as a chronological list and include all names mentioned. Then assign a unique background color to individual or family names. As you assign the colors, you should start to see patterns in the data. Your ancestors should start to present themselves to you as unique individuals. We just completed a family history investigation in Shropshire, England, and Powys, Wales, where we sought answers to difficult questions about ancestors’ emigration to America in the 1600s. Since documentation is limited for that time period, the family historian has to use some real creativity to piece together answers. As we wrote in part 2 of this series, understanding the historical context of our ancestors’ lives is critically important to ferreting out new generational links and lateral inferences. Understanding the religious context of our ancestors’ lives is probably one of the most important aspects of this work. Religious trends – especially before the 19th century – had an enormous impact on Western Europeans, often guiding even their most pragmatic decisions. In the case of our subject, Dr. Edward Maddox (d. 1694), religion was the paramount issue of his time and place. As a Protestant in rural England, he was directly affected by the Protestant Reformation, the English Civil War, and the Restoration – all of which were premised on a violent debate of the legitimacy of certain religious beliefs. Understanding his allegiances during those events could shed light on his family’s motivations to leave England – and would be interesting in itself. Edward Maddox emigrated from England to the American Colonies sometime between 1656 and 1668. He was among the very first Englishmen to live in the area. Court records document Edward’s rough frontier medicine, land speculation, wolf hunts and conflict with the Native Americans. In his early adulthood in England, Edward would have endured the 1642-1651 English Civil War, during which 6 percent – or 300,000 – of his countrymen died. It was a fight between “roundheads” and “cavaliers” – parliamentarians and royalists. The parliamentarians won in 1651. It was England’s experiment with republicanism, and for a decade it functioned roughly as intended, with Oliver Cromwell’s cronies keeping order over a rowdy parliament until 1659. But beneath Cromwell’s anti-monarchism there was a darker religious fervor… against Catholics. The English establishment could not stand the implications of a Catholic king – the economic upheaval it would risk – and rumors of English kings’ Papal alliances were truly incendiary. Everything in Edward’s records indicates he was a fervent anti-Catholic. We see him in Stafford County, Virginia, in the late 1680s befriending the notorious Parson Waugh, whose claim to infamy was his 1681 incitement of an anti-Catholic riot in Virginia. Waugh falsely claimed that Maryland Catholics were crossing the Potomac River with Seneca Indians to murder Virginians in their sleep. Waugh and Edward Maddox’s other friend George Mason (grandfather of the Founding Father) would be punished for the subterfuge. But where Edward’s Colonial records reveal his strong anti-Catholic sentiments, the records do not reveal any strong favor for the king. In England, he was married by a Parliamentarian magistrate instead of a parish priest. His departure from England around 1660 – as the parliamentarians lost power and King Charles II restored the monarchy – could mean fear of royalist retribution. If Edward left England at the time of Charles’ crowning in 1660, it could mean he was fleeing the royalists’ wrath, or rejecting the king’s rumored Papism in favor of more puritanical Protestantism in America like many others did. He would have been among friends in Maryland, where he resided until 1684 – a year before King Charles II’s death. Edward’s later life also raises some questions about his competing allegiances to God and King. Although Edward rose in social prominence in Maryland and Virginia through the 1680s by marrying into the prominent Stone and Mason families, he did not attain a public position as a Justice of the Peace in Stafford County, Virginia, until 1691. His very late Justice appointment – when he was probably 80, and just after the king’s death – may indicate that Edward had been a political outsider during the king’s reign, but that he was finally brought into the fold after allegiances changed. It’s fodder for deeper investigation. Similar to Edward Maddox’s story, your ancestor almost certainly was affected by the religious trends of his or her time. But digging into the complexities of historical religious trends can be daunting. Not everyone is interested in reading multiple 800-page books on the arcane subject of the Reformation, for instance. And they shouldn’t be. Happily, the basics of religious trends can be accessed by simple wikipedia searches or through other online searches, and these searches will invariably lead to deeper resources. As you continue to build documentary evidence of an ancestor’s life, you can read those papers in the context of religious trends. This little exercise will open a very useful lens. Genealogists often fixate on inducing certain results, such as establishing a family’s lineage back to European royalty or American Revolution participation. Finding links to historical events and famous individuals can change our perspectives on who we are. Along the way, though, most genealogists ignore the rich history of “ordinary” relatives’ lives. Ignoring these stories is tragic. Among the most impressive genealogical findings are the obscure stories of relatives’ accomplishments, difficult decisions, near-death experiences, and triumphs over adversity. These stories don’t come easily. They’re often deeply hidden in the pages of a forgotten local history book, or they’re only obliquely discoverable by poring over multiple texts and connecting the dots. Sometimes these stories are never written down and we have to painstakingly coax them from a living generation’s memories. But they’re always worth the effort. Among our favorite stories is the Maddox family‘s experience in the Civil War. A curious story has been passed down the generations – a story we originally thought was impossible. The legend was that three Maddox brothers – who had fought on both sides of the Civil War – gathered in an Illinois farmhouse some years after the war and talked of their experiences. One brother explained that his unit had been chasing a Confederate unit and finally caught up with them. In a pitched battle, he had taken aim at a cavalryman atop his horse and shot at him, but missed and instead killed the horse. Later in the battle he saw the same cavalryman who had found another horse. Determined, the brother took aim at the cavalryman again and fired his rifle, only to kill the cavalryman’s second horse. The cavalryman then disappeared in the confusion of the battle. Hearing this story, one of the other Maddox brothers rose from his chair and exclaimed, “You son of a b****, that was me!” The story demanded some research. We came to learn through muster rolls and pension records – easily available on ancestry.com and fold3.com – that Joseph Jefferson Maddox had enlisted as a cavalryman with the Union 3rd Kentucky Cavalry Regiment, and his brother Benjamin Wesley “Wes” Maddox had enlisted with the Confederate 10th Cavalry Regiment, of Morgan’s Raiders. Colby Stevenson Maddox enlisted with the Union in Illinois, and a fourth, William, enlisted in the Union and died in the war. If the storytelling actually occurred in that Illinois farmhouse, then Joseph, Wes and Colby were the men telling stories. When we first heard the story, we knew little of Morgan’s Raiders – Wes’s unit – and not many Americans do. Their wartime operations, mostly in 1863, were largely an attempt to draw Union forces from their strategic objectives, and are obscured by the enormity of the war’s other events at the time. In the east, Union General Meade had defeated General Lee at Gettysburg on July 13, causing unrecoverable personnel losses. To the west, Major General Grant had defeated the Confederate garrison at Vicksburg by July 4, thus disrupting the Confederacy’s critical Mississippi passage. The Union then committed to eliminating General John Hunt Morgan’s cavalry, who was increasingly making a mockery of Union control of the Ohio region. A victory over the elusive Morgan’s Raiders – who had been showcased in popular Northern newspapers as marauding bandits – would demonstrate that the South had lost its freedom of movement. The North could claim some rule of law in the Ohio region. Modern tacticians would call Morgan’s Raiders guerrillas. They moved swiftly, with little heavy equipment, and made no permanent gains. Their task was to harass local militias and civilians and to draw the greater Union force into the most difficult type of warfare. After previous successes in Kentucky, in June 1863 Morgan led his troops on a 1,000 mile offensive – called the “Great Raid” – from southern Kentucky through Indiana and into southern Ohio. Morgan’s Raiders were emboldened by frequent small victories early in the Great Raid, but by July 9, the Raiders – including Wes’s unit – were being closely pursued by a strong Union force, including the cavalry unit that great-great Uncle Joseph belonged to, according to battlefield histories. Joseph certainly would have known that he was pursuing his own brother’s unit. There would have been ample opportunity for the kind of sniping described in the brothers’ war stories. So the fantastic family legend may have some truth to it. But it was at the Buffington Island Ford, near Portland, Ohio, that the brothers would have a run-in of Shakespearean proportions. We do not know exactly what happened. We know from partial war journals that the Union pursuit of Morgan’s Raiders reached its peak on July 19. The men on both sides were ragged, stinking, overheated and exhausted after a week of sleepless horseback pursuit. The Raiders slowed as they attempted to cross at a ford over the Ohio River toward the relative safety of West Virginia, and the Union cavalry and a gunboat opened fire on them. Over 700 Raiders were captured by Joseph’s unit. Among those captured was Joseph’s own brother, Wes. As a result of his brother’s actions, Wes would spend the last two years of the war in one of the most atrocious prison camps of the war – Camp Douglas in Chicago, where one in five prisoners died of disease, famine, cold or abuse. There are many stories of families splitting over the Civil War, but there are few of brother fighting brother in a battle. It’s the kind of historical narrative that should make us sit up in our chair, and it beats most claims of European royalty somewhere down the line. But too often, stories like this one are denied their place in our family histories because we don’t take the time to dig into the seemingly pedestrian lives of our quietest ancestors. They deserve better. Hopefully you’ll agree genealogical research is about much more than describing a relative’s descent from royalty. The extraordinary effort that genealogists put into their family history should result in deep context of relatives’ lives. One of the best ways to build compelling context for your subjects (your relatives) is to find images from their lives – and to present them in a way that is accessible to current and future generations. Imagery can supply a deeper understanding of our ancestors’ lifestyles than many other forms of documentation. A map of an ancestor’s hometown can help us understand the dimensions of his or her life, but a hand drawing or a painting of that town from the same time provides a cache of environmental information that might otherwise be unknowable. A great example is a hand-drawing of the tiny 17th-century settlement of Moore’s Lodge, Maryland – a place that served as the first Charles County courthouse. We might conclude from our stereotype of Colonial life that Moore’s Lodge would somehow resemble a Colonial Williamsburg reenactment, but the map of Moore’s Lodge presents a much rougher lifestyle for the settlers. The illustrator made a point of depicting larger-than-life stockades, allowing the viewer to come to his or her own conclusions about their importance at the time. The tiny trails leading into town speak of the limitations on commerce at the time. An orchard implies the settlers’ efforts at permanence. These implications were a real eye-opener for one Narratio Vitae customer, whose family owned the courthouse in the early 1700s. Another great example of an image supplying context to a relative’s life is the one we found of John S. Quinn, an early 20th-century track star in Boston. While the Quinn family knew their grandfather was a runner, they did not understand the extent of his fame. When Narratio Vitae discovered his image in the Boston Herald archives, the family was thrilled. Not only did they have documentation of John S. Quinn’s stardom, but the image provide something more tangible to hand down to generations. A third example – and the kind of image that is becoming increasingly accessible to researchers on the open internet – is one we found of a customer’s ancestor’s World War II ship. Narratio Vitae not only discovered the ancestor’s military service information, but paired it with an image of the actual ship the ancestor served on. An image of the ship allowed the customer’s imagination to run wild. They could envision their ancestor’s life aboard the ship, and could begin to understand what he might have gone through. It’s getting easier to find historical imagery, but it still takes a lot of time and effort to find specific subjects, since the subjects of photos and illustrations were not frequently listed by the original photographer/artist. With persistent, broad searches (instead of trying to find your relative alone, try to ind his or her military unit, for example), online search engines can return a trove of images if they’ve been appropriately curated. Beyond a broad online search, serious genealogists will pay for access to newspaper archives and other periodical archives, which retain well-tagged and well-dated images. The Library of Congress, and national and state archives have amassed collections of unique imagery, and new efforts like deadfred.com claim to be making headway with genealogical imagery curation. Your family tree and the fact of your ancestors’ professions and places of residence are interesting enough… for starters. But your ancestors’ motivations are the more compelling story, with implications for your family’s current generation and many generations to come. Sleuthing your ancestors’ motivations can be one of the most rewarding genealogical efforts. Unfortunately, few genealogists take this extra “deductive” step. One of our favorite examples of this deductive effort is our research into the Novom family. It has lessons for all family historians. When Narratio Vitae began its research into the Novoms, the current generation knew little about its past beyond a great-grandfather, and most of its historical information was based on family legacy. This isn’t unusual for the children and grandchildren of recent immigrants, who often seem to focus more on developing a new life than on re-adjudicating the past. But with time and establishment, families begin to wonder about their deeper history. For the Novoms, as for so many other American Jewish families, there was an unspoken dread of digging too deeply into the harsh reality of their departure from Europe to America. But they wanted to know where they came from and why they left their original home. They knew their grandfather had arrived to New York in the early 1900s, but not much else. Family tradition held that their grandparents had fled the Russian pogroms – organized massacres of Jewish communities. Narratio Vitae dug. And dug. And dug. By reverse-transcribing into English the transcribed and misspelled Russian place name of great-grandfather Joe Novom’s original home town as recorded on his naturalization petition, we found that he had lived in Panevezhys, Russia (now Lithuania). This gave us a starting point for homing in on the conditions of his departure. By consulting numerous obscure historical records and narratives from the time, available on passionately committed genealogical sites like JewishGen and the National Archives, we were able to contextualize their departure. We found that Joe Novom’s motivations were probably similar to the motivations of the thousands of other Jews who fled Russia at the same time. Joe and his wife Bessie grew up under the tough conditions of pre-Revolution Russia, where as Jews they were singled out in a violent game of retribution between the Czarists and their detractors. Panevezhys in particular had a high population of Jews and was a center of discontent. Joe and his wife Bessie fled Russia shortly after the Revolution of 1905, along with about 80 percent of the Jewish youth of Panevezhys. Beyond confirming the Novoms’ family legend of their grandparents’ distressed flight from Russia, Narratio Vitae was able to describe the specific conditions of their departure and to help the family understand the emotions behind the Novoms’ decision to leave Lithuania behind. It could not have been easy. While each family is different, the basic process of deducing ancestors’ motivations takes a similar line. With the Novom case, Narratio Vitae established the fact of the Novoms’ geographic residence during a specific time period, and conducted a broad “lateral” investigation into the environmental conditions at that time. We spent a lot of time doing a literature review to find descriptive primary sources. The pressure of Czarists was the consistent topic of those sources, and that pressure was felt by all Jews in Panevezhys. The Novoms were no exception. Revealing ancestors’ motivations may be beyond many amateur genealogists’ scope of effort because of the time and complex research required. But it’s probably the most important story a genealogist can hand down to later generations. As always, Narratio Vitae is standing by to help. So you’ve done the detailed work of proving your ancestors’ names and birth dates, and you’ve linked back a few generations. And among the details you’ve discovered is the appealing idea that your family was not just a nebulous string of names on paper; instead, your family was part of a small town or a rural county or a thriving city – a place that had an important influence on your family’s fortunes. The space we live in can make or break us, and it’s important that we place families in their geographic context. It can be difficult to envision the terrain of our ancestors’ lives. The terrain of 17th century mid-Atlantic America, for example, has been fundamentally changed by hundreds of years of political, commercial and natural modifications. To take a specific example, the Maddox family‘s 17th-century settlement of Port Tobacco, Maryland, was once a thriving port town that attracted leading politicians and businessmen during its heyday, but deforestation resulted in over-silting of the riverbed, making it too shallow for commercial vessels from England. The later establishment of the railway a few miles away meant Port Tobacco’s demise by the early 19th century. To look at Port Tobacco now, it’s nearly impossible for the Maddoxes to imagine the place’s former vitality. But explaining that vitality is crucial to developing an accurate narrative for posterity. Researching geographic features can take a lot of time and patience. Starting with two maps is a good way to begin to understand where your family lived. First, find a map from the time of your family’s residence. Second, compare that historical map with a modern map of similar scale. Compare borders, transportation routes, place names and any landmarks. If you’ve spent a good amount of time researching your family line and their close associates, there’s a very good chance you’ll find many familiar names on the maps. The USGS provides a good guide to map use here. Using the Maddox family example again, a map of the area around Abbeville, South Carolina, would include hints of the Maddox family’s 18th- and 19th-century presence there – such as Maddox Shoals along the Saluda River, Maddox Mill, and Maddox Bridge. These landmarks tell a story of their own. Plat maps, available in city and state archives, are the best resource for finding the precise location of your family’s former land or city property. Colonial plat maps include sometimes fanciful descriptions of the land, along with hand-drawn maps. More recent plat maps are much more precise, including clear perimeters and latitude/longitude details. Compare the plat map with both your old map and new map to geolocate your family’s site, and then use Google Maps to zoom in on the land. Record the Google Maps location in your records. It will be useful when you want to visit the location. If you persevere, you’re likely to be surprised by existing research into the historical geography of your ancestral home. Most libraries’ local history sections include such studies. Another great place to look is in the digital library JSTOR, which houses an incredible array of studies. A great example of a “good find” is the research done by Smithsonian archeologist C. Malcolm Watkins into the Marlborough Town, Virginia, Colonial site. The archeologist definitively located Edward Maddox’s plot #15, which Edward bought in the 1690s, and it was easy to compare Watkins’ maps with Google Maps details despite the antiquity of the original maps. As always, don’t expect immediate success with this genealogical research effort. It can take a good bit of luck to bump into the right information. But the more you know about your family, the more you can relate bits of seemingly disparate information to the geographic terrain of their lives. We’re happy to offer our new 1-minute “explainer” video for your viewing pleasure, below. We see our ancestral narratives as the perfect opportunity for our customers to initiate positive discussions with their families, and we hope you will, too. Let us know what you think! Are you interested in developing your family history, but the cost seems prohibitive? At Narratio Vitae, we recognize the difficulty of balancing your interest in developing your history for posterity against your need to pay your bills. To make this balancing act easier, we recommend cost-splitting your family narrative. Cost-splitting minimizes the cost for individual family members and has the added benefit of attracting stronger family participation in family narrative development. Two cost-splitting apps make it incredibly easy to collect funds from far-flung relatives and friends, and to send those funds to Narratio Vitae for payment: PayPal: PayPal’s Send Money app allows users with accounts to send money directly and securely to email addresses and mobile phone numbers. Account holders can track each other’s payments and debts on the app. If you’re organizing a family narrative with Narratio Vitae, you would simply ask your relatives to set up PayPal accounts and send a certain amount to you, and then you would transfer the final sum to Narratio Vitae’s existing PayPal account. Venmo: Similar to PayPal’s system, Venmo allows users with accounts to share costs on its app, but Venmo emphasizes the social aspect of purchases by allowing users to discuss the purchase in real time on the app. If you’re organizing a family narrative purchase, you would ask your relatives to set up Venmo accounts, and then you could converse with them in the app about the purchase. The app also allows the group to see each other’s obligations and payments – so you can easily goad parsimonious Aunt Penny into making her payment. Of course Narratio Vitae also invites its clients to pay with traditional forms of payment, such as credit card and personal check, and will work with each client to make the process as easy as possible. At Narratio Vitae (“life story” in Latin), we constantly encounter the undying reflections of our clients’ pasts, and we revel in the thrill of a good ghost story. This Halloween, three movies reign as genuinely creepy ghost stories. We highlighted Under the Shadowlast week, and here’s a third for your consideration… OK, so it’s not a movie, but of the 2016 releases, it belongs in the top three with our other selections… American Horror Story seemed to have been going off the rails with seasons four and five, but the new season, American Horror Story: Roanoke, redeems the series, and particularly appeals to history buffs like us. It’s receiving great reviews. Roanoke is a story within a story, documenting the haunted lives of a couple who fled their colonial-era home in North Carolina after being assaulted by a gang. Part of the intrigue is in unraveling a complex network of ghosts. While viewers’ attention seems to be focused on Lady Gaga’s central character Scathach, a witch, the show develops a host of ghouls based on an (apocryphal) story that the colonists in Roanoke all became ghosts after a “blood moon ritual.” Be ready for blood and guts.

<urn:uuid:22a9bafb-3349-481d-8244-b8ec58c0b6b6>

CC-MAIN-2019-18

https://narratiovitae.com/category/family/

s3://commoncrawl/crawl-data/CC-MAIN-2019-18/segments/1555578762045.99/warc/CC-MAIN-20190426073513-20190426095513-00253.warc.gz

en

When you read or hear about a condition such as Asperger’s Syndrome, it is common to come across technical and medical words that have little meaning to most people. Sometimes a common word is used in association with Asperger’s yet its relevance might not be known. A little while ago the Foundation commissioned a psychologist to do some research and as part of that process they produces a glossary of terms related to Asperger’s Syndrome. So if you are ever muddled or confused about a phrase someone has used, have a look in this glossary and hopefully we can help to straighten things out. NOTE: Like all information on this website the following is copyright to the Cloud 9 Children’s Foundation and is not to be reproduced without permission. Glossary of Terms and Information About Asperger’s Syndrome AFFECT Fluctuations of mood are frequently observed in children and adults with Asperger’s syndrome. Changes in mood can be observed in several variations: giggling or weeping for no apparent reason, absence of emotional responses or reactions to danger, excessive fearfulness or generalized anxiety. AGITATION See Psychomotor Agitation. ANXIETY As with Obsessive-Compulsive Disorder and panic attacks, anxiety and anxiety attacks have been argued to be a natural outgrowth from the ritualistic, perfectionist characteristics of Asperger’s. ASPERGER’S SYNDROME A condition at the more able end of the Autistic spectrum. Essential features of Asperger’s are severe and sustained impairment in social interaction and the development of restricted, repetitive patterns of behaviour, interests, and activities. There are no clinically significant delays in language, cognitive development or in the development of age-appropriate self-help skills, adaptive behaviour (other than in social interaction), and curiosity about the environment in childhood. Unlike people with ‘classic autism’ who often appear withdrawn and uninterested in the world around them, many people with Asperger’s syndrome try hard to be sociable and do not dislike human contact. ATYPICAL AUTISM Presentations that do not meet the criteria for Autism because of the late age of onset, unusual symptoms, or symptoms that do not meet the diagnostic criteria (see below) for diagnosis. AUDITORY INTEGRATION TRAINING (AIT) was developed in response to the theory that the sound sensitivity and consequent behavioural disturbance in autism could result from hearing disturbances. AIT involves the child/adult wearing earphones attached to a machine with a variety of auditory filters that allow the sound emitting from the machine to be modified for individuals. The machine filters and amplifies specially selected music as necessary and sends the music to each ear independently. Although not widely available, some research suggest that structure listening and AIT appears to help in reducing sound sensitivity in many, but not all, children who are sound sensitive. AIT is also called the “Tomatis Method” and “Auditory Stimulation”. AUTISTIC SPECTRUM DISORDER A complex developmental disability that affects the way a person communicates and relates to people around them. The term autistic spectrum is often used because the condition varies from person to person; some people with the condition may also have accompanying learning disabilities, while others are much more able with average or above average intelligence. Despite the wide-ranging differences, everyone with a disorder on the spectrum has difficulty with interaction, social interaction and imagination. AUTISM The essential feature of Autism or Autistic Disorder is the presence of markedly abnormal or impaired development in social interaction, social communication and imagination, together with a very restricted range of activity and interests. BACKWARD CHAINING Many daily living skills involve children learning a sequence of actions, which are often broken down in small steps to help the child learn. Backward chaining is a process where the child is helped to complete the last step of a sequence only, at first. For example, in teaching a child how to put on a T-shirt, the T-shirt is put on, but the child is left to pull it down (initially with the physical prompt of an adult’s hand over theirs). Once the child can do this step unaided, they are gradually taught more steps until finally no help is needed. BROAD AUTISM PHENOTYPE Characteristics that are qualitatively similar, but milder than those that define autism – social and communication deficits and stereotyped, repetitive behaviours are present, but have less detrimental impact. These characteristics show familial aggregation in families with a member or members with Autism. CAUSES OF AUTISTIC SPECTRUM DISORDERS The exact causes of Autistic spectrum disorders are still not known, but research shows that genetic factors are important. Autism is not the result of emotional deprivation or emotional stress, or parenting style. In some cases, Autistic spectrum disorders may be associated with conditions affecting brain development, such as maternal rubella, tuberous sclerosis, epilepsy and encephalitis. CHILDHOOD DISINTEGRATIVE DISORDER Also on the Autistic spectrum, this disorder is a marked regression in multiple areas of functioning following a period of at least two years of apparently normal development. CLUMSINESS Clumsy body language is sometimes seen in Autism and Asperger’s, but motor clumsiness is not a necessary part of the picture in all cases of Autism. COMMUNICATION Verbal : See Language Non-Verbal: Non-verbal communication problems you may see in Autism include: poor eye contact, posture, limited or inappropriate facial expression, clumsy body language, difficulty adjusting physical proximity and limited use of gestures. Nonverbal aspects of communication can be significantly different in Asperger’s syndrome. Non-verbal communication may be exaggerated, completely absent, or may appear to contradict verbal content. Children and adults also find it hard to understand non-verbal signals from others, including facial expressions. CONCRETENESS See mental rigidity. DAILY LIFE THERAPY (HIGASHI) Daily Life Therapy is a programme that aims to provide autistic children with a systematic education through group dynamics, modelling and physical activity. There are Higashi Schools in the UK and the USA. DEPRESSION In adolescence or early adulthood, individuals with Autism who have the intellectual capacity for insight may become isolated and depressed in response to the realisation of their serious impairment. Symptoms or signs may include significant changes in appetite (decreased or increased appetite), behaviour or sleeping patterns. People with Asperger’s often want to be sociable and are upset by the fact that they find it difficult to make friends. DESENSITISATION Some sensory integration therapists believe that it may be possible to reduce tactile defensiveness be gradually exposing the child with an Autistic disorder to touch in a way which is safe and enjoyable to them. DIAGNOSTIC CRITERIA Diagnostic criteria are often used to help with diagnosing an individual within the Autistic spectrum and other conditions. All people with an Autistic spectrum condition have difficulties with social interaction, social communication and imagination. This is sometimes referred to as the triad of impairments, each of which must be present to meet the criteria for diagnosis: 1. Social interaction (difficulty with social relationships, e.g., appearing aloof and indifferent to other people). 2. Social communication (difficulty with verbal and non-verbal communication, e.g., not really understanding the meaning of gestures, facial expressions or tone of voice). 3. Imagination (difficulty in the development of play and imagination, e.g., having a limited range of imaginative activities, possibly copied and used repetitively). In addition to this triad, other diagnostic criteria include repetitive behaviour patterns and a resistance to change in routine. DIAGNOSTIC INSTRUMENTS Several instruments exist which were designed to assist with detecting autism, with variable reliability and validity. The most popularly used and reliable of these is the Childhood Autism Rating Scale (Schopler, Reichler & Renner, 1988) which is a 15-item structured interview and observation instrument for use with children over 24 months of age. It indicates the degree to which a child’s behaviour deviates from the age-appropriate norm, and it distinguished the degree of autism. The Parent Interview for Autism (Stone & Hogan, 1993) is designed to obtain diagnostically relevant information from parents of young children suspected of having autism. Other examples are the Autism Behaviour Checklist and the Behavioural Rating Instrument for Autistic and Other Atypical Children. DIETARY INTERVENTIONS Supporters of this type of intervention argue that certain foods or combinations of foods can have an aversive or beneficial effect on Autism. It now seems that some people with Autism may suffer a metabolic disorder causing them to be unable to completely digest certain foods. For some children, a special diet, such as eating no grain, wheat or diary products can help. Such children may be helped by going on what is known as a gluten (grain or wheat) and/or casein (diary) free diet. For others, taking vitamins, such as Vitamin B6 and magnesium is beneficial. DRUGS There is no drug that can cure Autism. However, some drugs can be used to help associated problems such as sleeping difficulties, hyperactive behavior etc. DYSPRAXIA Sometimes also called Developmental Co-ordination Disorder, Dyspraxia is often referred to as a disorder of gesture. Features of dyspraxia consist primarily of abnormal motor behavior such as difficulties with balance and co-ordination, limited gestural motor tasks, clumsiness, and difficulty with fine motor tasks. Developmental Verbal Dyspraxia refers to an intelligible or atypical speech production. Children and adults with an Autistic Spectrum Disorder often show several signs of both verbal and motor dyspraxia. Dyspraxia in children is often compared to and contrasted with adult acquired apraxia. ECHOLIA A parrot-like repetition of a word or phrase just spoken by another person. This echoing is apparently senseless and without meaning. EDUCATION This is thought to be one of the best ways of helping children with Autism and there are a number of methods of teaching that can help. Some children attend special schools where teachers are specially trained in teaching children with Autism, whereas other children attend mainstream schools. EGOCENTRICITY Egocentrism is a bias toward interpreting events from your own (ego’s) point of view without taking into consideration alternative (other people’s) perspectives. Between the ages of about 5 and 12 years a child’s tendency to be egocentric usually declines which can increase the effectiveness of communication as children are able to consider the views of others, anticipate how others will behave and develop skills at negotiating social interactions with peers. Children with Autism however, often do not experience the normal developmental decline in egocentricity, which in turn limits the above communicative and imaginative abilities. EMPATHY Empathy is the ability to understand how only people are feeling and to identify with the likely emotions. Developing empathy involves several processes: recognizing the emotional state of another person; perspective taking; having a similar emotional response; and acting on it (e.g., expressing sympathy). People with Asperger’s often have difficulty expressing or feeling empathy because of not being able to complete one or more of these processes involved in developing empathy. FACILITATED COMMUNICATION At times controversial, FC is used as an alternative means of communication for people with no, or extremely dysfunctional speech. The FC facilitator normally supports a client’s hand, wrist or arm while that person uses a communicator to spell out words, phrases or sentences. Use of FC with people with autism is centred on the notion that many of the difficulties faced are due to a movement disorder, rather than social or communication deficits. GENETICS Although the exact causes of Autistic spectrum disorders are still not known, research shows that genetic factors are important. Twin and family studies clearly support genetic factors as important in Autism, but linkage analysis studies indicate that many genes may be involved. GRAPHOMOTOR DEVELOPMENT Those fine motor skills associated with handwriting and drawing. HOLDING THERAPY An approach to behavior management which involves forcibly holding and hugging the autistic child until they stop resisting. Holding Therapy was primarily used in the 1980’s, but has since declined in popularity because of the large amount of evidence that it is extremely distressing, aversive and stressful for the child. It is now believed by a majority of people with, and working with an Autistic disorder, that the most effective management approach is a non-aversive one that does not use punishment or physical restraint, and reduces stress and anxiety. HYPERACUSIS Excessive auditory sensitivity. HYPERLEXIA A precocious ability to rote – read at an early age. Can be a common feature of the learning profile in Asperger’s syndrome. IDIOPATHIC LEARNING DISABILITY Idiopathic means a disorder of unknown cause. IMAGINATION While they often excel at learning facts and figures, people with Asperger’s find it hard to think in abstract ways. This can cause problems for children in school where they may have difficulty with certain subjects such as English or creative writing. KANNER SYNDROME Also on the Autistic spectrum. Sometimes referred to as ‘classic autism’. People with Asperger’s tend to have average or above average intelligence and so generally have fewer problems with language than classic autism. People with autism often speak fluently, although their words can sometimes sound formal or stilted. Vocal characteristics can be very different in children with Asperger’s syndrome, whose voices may sound rather flat, due to monotone, robotic phrasing and inflection patterns. Figurative Language Despite having good language skills, people with Asperger’s syndrome may sound over precise or over-literal. Jokes can cause problems as can exaggerated language and metaphors, e.g., a person with Asperger’s may be confused or frightened by a statement like “she bit my head off”. Receptive Language Although people with Asperger’s may speak very fluently, but they may not take much notice of the reaction of people listening to them; e.g., they may talk on and on regardless of the listener’s interest and may appear insensitive to other people’s feelings. Typically language is understood and used very literally, and while they often excel at learning facts and figures, Asperger’s children and adults find it hard to think in abstract ways. Pragmatic Language Pragmatic or conversational language skills are often weak because of problems with turn-taking, unsociable comments, interrupting, a tendency to revert to areas of special interest, or difficulty sustaining the “give-and-take” of conversations. Communication is sometimes described as “talking at” others, e.g., monologue on a favorite subject that continues despite attempts at others to interject comments. LOVAAS The LOVAAS method is an early intensive behaviour therapy approach for children with autism and other related disorders. It is both a clinic based and home-supported based programme, with (now) an emphasis on positively reinforcing learnt skills with food, a toy, and gradually moving through to more social and everyday reinforcers such as hugs and tickles. All skills are broken down into small tasks that are achievable and taught in a very structured manner, accompanied by lots of praise and reinforcement. MANUAL DEXTERITY This area of movement skills involves the ability to use both hands, for example – learning to dress, eat with utensils, tie shoelaces. This may also extend to the co-ordination of feet and legs as in learning to ride a bicycle. Manual dexterity can be difficult, limited or absent in Autism. MENTAL RETARDATION The relation between autism and intellectually handicap has been a source of confusion for a long time. Many have noted that the intellectual impairments in people with Autism resemble the limitations of intellectually handicapped people. Compared with intellectually handicapped people however, individuals with Autism have more intellectual strengths – which can be above average in some areas – and a wider spread between their skills and deficits. Gross motor skills of autistic children also tend to be stronger. Intellectually handicapped children however, generally have better social and communication skills in relation to their overall developmental levels. The relationship between autism and intellectual handicap has been clarified more recently with the acknowledgement that autism can and does co-exist with other disabilities – the most common of which is “mental retardation” (current estimates of co-morbidity are 70%). MENTAL RIGIDITY Thinking patterns can be very rigid in Autism. Concepts are viewed as black or white, with subtle variations very difficult to understand. For example, a specific number can be “few” in some situations, but “many” in another situation, it is all relative. This way of interpreting information is extremely challenging to individuals with Asperger’s syndrome. The egocentric features of Asperger’s also contribute to mental rigidity, as situations tend to be seen from their perspective only. MIND BLINDNESS An inability to pick up social cues and nuances (e.g., facial expressions). MONOTROPIC INTEREST SYSTEMS People with “monotropic interest systems”, including individuals with autism, have their attention fixed on isolated objects which are viewed as though through a tunnel, separate from the surrounding context. MOTOR SKILLS / MOVEMENT Motor skills can be divided into two broad categories. Fine motor skills consists of activities such as writing with a pen/pencil, doing up buttons and eating with utensils. Gross motor skills involve the coordination and development of larger activities such as kicking a ball, running, swimming and jumping. To varying degrees both fine and gross motor skill development can be impaired in children with Autism. MUSIC THERAPY Supporters of music therapy argue that music can stimulate and develop more meaningful and playful communication in people with Autism. Music therapy is led by a trained musician, and most rely on spontaneous musical improvisation, where the therapist uses percussion or tuned instruments, or their own voice, to respond creatively to the sounds produced by the child/adult, and encourage the child to create his or her own musical language. MUSICAL INTERACTION THERAPY (MIT) has been used with Autistic children at certain schools to reinforce speech-language therapy, rather than used on its own. MIT differs from music therapy in that the musical interaction therapy practitioner is not required to be a musician. OBSESSIVE-COMPULSIVE DISORDER (OCD) Has been argued to sometimes be a natural outgrowth from the ritualistic, perfectionist characteristics of Asperger’s for some individuals. OPTIONS SON-RISE PROGRAMMEME This programme uses an interactive approach to early intervention – emphasizing the importance of developing a relationship and communication between the child and parents. The programme is child-centered: the child is not judged and their behaviors are not seen as good or bad, rather the child is seen to be doing the best he/she can. The Son-Rise philosophy encourages the parent (or therapist, instructor of facilitator) to “become the student of the child’s world, observing, learning, assisting and supporting the child’s development in a loving and non-judgmental environment”. Parents are trained and then set up and manage the programme in their own home. Options Son-Rise programmes are especially popular in the UK and USA> PANIC ATTACKS As with Obsessive-Compulsive Disorder and anxiety attacks, panic attacks have been argued to be a natural outgrowth from the ritualistic, perfectionist characteristics of Asperger’s. PERSEVERATION The tendency to repeat a certain phrase or activity despite other’s attempts to interrupt, other’s disinterest or fatigue. Perseveration can be seen in Autistic people – particularly in the routines and ritualistic behaviour that often characterizes the Autistic Spectrum Disorders. PERVASIVE DEVELOPMENTAL DISORDERS (PDD) Disorders characterized by severe and pervasive impairment in several areas of development: reciprocal social interaction skills, communication skills, communication skills, or the presence of stereotyped behaviour, interests and activities. Autism and Asperger’s both fall under the category of PDD as does Rett’s disorder, Childhood Disintegrative Disorder and PDD – not otherwise specified (NOS). PERVASIVE DEVELOPMENTAL DISORDER NOT OTHERWISE SPECIFIED A diagnosis of PDD-NOS (also called atypical Autism) may be made when a child does not meet the criteria for a specific diagnosis, but there is a severe and pervasive impairment in specified behaviors. PHYSIOTHERAPY Can be helpful to suggest strategies to improve gross-motor coordination. PICTURE SYMBOLS Not all children with Autism learn to speak, or they can only speak one or two words. It is therefore important to teach alternative forms of communication. One method that is increasingly being used is the Picture Exchange Communication System or PECS for short. This involves the child showing or pointing to a card with a picture. For example, if the child is thirsty, they can point to a picture of a cup. Gradually, the child learns to build up a sentence from cards, e.g., I want a drink. Alongside this, some children also learn to ask for what they want verbally. PRAGMATIC DEFICITS See Language: Pragmatic Language. PREVALENCE The prevalence of Autism is approximately 1 per 2000 people, the prevalence of Autism and Asperger’s together is 1 per 1000 people. Although it is not known why, boys are affected more than girls. For Autism the sex ratio is four males to one female, for Asperger’s syndrome, the ratio is nine males to one female. PROCESSING The ability to accurately attach meaning to stimuli. Can be impaired in some Autistic children and adults. PROSODY Often a flat or unusual tone, that can present as a ‘foreign accent’. Prosody means that there is a lack of vocal inflection, and a lack of varying pitch and volume levels, rate, rhythm and inflection. PROTO-DECLARATIVE POINTING This type of pointing is to declare an interest in something as opposed to proto-imperative pointing which is used for requesting something. Proto-declarative pointing is deficient in children with an autistic spectrum disorder. PSYCHOLOGY Psychologists can be helpful in both assessment and therapy of the autistic spectrum disorders. A psychologist may need to monitor emotional stability and provide counselling and education (information) services as needed if the child or adult becomes overwhelmed or frustrated. PSYCHOMOTOR AGITATION Excessive motor activity associated with a feeling of inner tension. The activity is usually non-productive, repetitious and consists of behaviour such as pacing, fidgeting, wringing hands, pulling of clothes and an inability to sit still. PSYCHOMOTOR RETARDATION A visible generalised slowing of movements and speech. REPETITIVE ACTIVITY / BEHAVIOUR Restricted, repetitive and stereotyped patterns of behavior, interests and activities are one of the defining features of Asperger’s. These can be shown by at least one of the following: · An encompassing preoccupation with one or more stereotyped and restricted patterns of interest that is abnormal either in intensity or focus. · Apparently inflexible adherence to specific, non-functional routines or rituals. · Stereotyped and repetitive motor mannerisms (e.g., hand or finger flapping or twisting, or complex whole-body movements). · Persistent preoccupation with parts of objects. RETT’S SYNDROME Also on the Autistic spectrum, Rett’s syndrome is the development of multiple, specific deficits (e.g., loss of purposeful hand movements replaced with repetitive hand movements) following a period of normal functioning after birth, usually beginning between the ages of 1 and 4 years. To date, only occurs in girls. RITUALS People with Asperger’s often prefer to order their day according to a set pattern. Any enforced or perceived disruptions to their self-imposed rituals can cause anxiety or distress. ROUTINES For people with Asperger’s syndrome, any unexpected change in routine can be upsetting. Examples of routines used by Asperger’s children include: an insistence on following an identical route to school each day; a lengthy bed-time ritual; or the repetition of a sequence of odd bodily movements. Also see Repetitive Activity / Behavior. SELF INJURIOUS BEHAVIOUR Self-injurious behavior such as head banging and finger or hand biting are among the most extreme and frightening of the behaviors accompanying Autism. These occur in less than 10% of the Autistic population, but can be the most difficult to control or suggest a remedy for. SEMANTIC PRAGMATIC DISORDER Semantic Pragmatic Disorder was originally used to describe a developmental language disorder, affecting two aspects of communication: “semantics” and “pragmatics”. It belongs within the autistic spectrum and has the same underlying triad of socio-cognitive deficits as high functioning autism or Asperger’s. Partly because of the argument that “semantic pragmatic disorder” is not an appropriate diagnosis, but merely a descriptive term for the nature of communication difficulty found in verbal people with autism, the term is no longer used. SENSORY SENSITIVITIES Under- and over-responsitivity to sensory input are common in Autism; some children resist being touched while others ignore sensitivities like pain. Specific sounds or tastes fascinate many Autistic people. SLEEP PROBLEMS Problems with sleeping behavior are frequently observed in individuals with Asperger’s. Sleep problems often resolve themselves by adolescence, but can be difficult prior to then. Staying up all night is among the most difficult of the ongoing problems that parents face with young Autistic children. SOCIAL COMMUNICATION / INTERACTION Social characteristics you may see in a child with Autism include: · Communication concerns - doesn’t respond to his/her name - doesn’t point or wave goodbye - appears deaf at times - used to say a few words, now doesn’t - doesn’t follow directions - No babbling by 12 months - No gesturing by 12 months - No single words by 16 months · Social concerns - doesn’t smile socially - seems to prefer playing alone - has poor eye contact - is not interested in other children - tunes people out - is very independent - is in his/her own world - does things ‘early’ · Behavioral concerns - tantrums - hyperactive/oppositional/uncooperative - has unusual attachments to toys - is oversensitive to certain textures or sounds - has odd movement patterns SPECIAL INTERESTS People with Asperger’s often develop an almost obsessive interest in a hobby or collection. Usually their interest involves arranging or memorizing facts about a specialist subject. SPECTRUM DISORDERS Autism is a spectrum disorder which means that the symptoms and characteristics of Autism can present themselves in a wide variety of combinations from relatively mild to severe. Although Autism is defined by a certain set of behaviors, children and adults can exhibit any combination of the behaviors in any degree of severity. SPEECH LANGUAGE THERAPY (SLT) can be very useful for Autistic children with a speech impediment, limited or no speech skills. SPELL SPELL is an acronym for Structure, Positive, Empathy, Low Arousal, and Links. It is the method of intervention used by the National Autistic Society (NAS) in the United Kingdom. NAS say the SPELL approach has been refined to recognize the individuality of each child or adult with an Autistic spectrum disorder including Asperger’s. It is a holistic approach that sees every child/adult as a unique individual while acknowledging that they share similar experiences and difficulties. They say SPELL describes the necessary environment and support environment that enables the child to learn while minimizing stress. NAS’s description of the SPELL approach is as follows: · Structure: helps the child to make sense of a very confusing world. · Positive: attitudes and appropriately pitched expectations enhance the child’s self esteem and self-confidence. · Empathy: Empathy is crucial to see the world from the child’s unique viewpoint and to understand their perceptions. · Low Arousal: The child’s learning environment needs to be clear, calm and clutter free. · Links: With parents and mainstream education. STATISTICS See Prevalence. STEREOTYPED MOVEMENTS Repetitive, seemingly driven, and non-functional motor behaviour. Examples include hand shaking or waving, body rocking, head banging, mouthing of objects, self-biting, picking at skin, hitting one’s own body. Also see repetitive activity / behaviour. STIMMING Self stimulating behavior (e.g., repetitive patterns of behavior). SQUEEZE MACHINE Invented by Temple Grandin who has autism, this is essentially as the name suggests. An individual puts themselves into the machine and is ‘squeezed’ to various degrees. The squeeze machine therefore allows a person with an autistic spectrum condition to explore touch and deep pressure in a way that is completely under their control. TACTILE DEFENSIVENESS / HYPERSENSITIVITY The nervous system appears to overreact to touch, so that a ‘friendly’ touch is perceived as overwhelming and invasive. This is not true for everyone with an autistic spectrum condition, as some enjoy certain forms of active physical contact. TEACCH Treatment and Education of Autistic and Related Communication Handicapped Children. TEACCH provides a wide range of services to children, adults and families, has a research programmeme and provides multidisciplinary training for professionals working with autism. Their stated aim is to help to prepare people with autism to live or work more effectively at home, at school and in the community. THEORY OF MIND (ToM) Theory of Mind refers to the capacity to attribute mental states to oneself and others in an attempt to understand and explain, and to predict other’s behavior. ToM is not fully developed in children or adults with Autism. TOMATIS METHOD See Auditory Integration Training. TREATMENT An autistic spectrum disorder is a life-long disability and there is at present no one effective treatment that appears to work for everyone. However, given appropriate intervention early in life, specialized education and structured support can make a difference to a child’s life, helping to maximize their skills and achieve their full potential as adults. Although there is no documented “cure” for Autism, research suggests that it can be managed effectively using comprehensive behavioral and educational treatment programmes. Social pragmatic approaches, augmented by individualized strategies and social coaching, may be best for teaching social communication skills. Pharmacological interventions have a limited role in improving asocial communication, but may help ameliorate depression, hyperactivity and other secondary problems. For a definition and brief description of the various treatment approaches, refer to the appropriate place in this glossary. TRIAD OF IMPAIRMENTS Autistic spectrum disorders are characterized by impairments in social interaction, social communication and imagination which can occur in varying degrees of severity. This triad is generally accompanied by a limited, narrow, repetitive pattern if activities. Also see Diagnostic Criteria

<urn:uuid:76ad6eb9-229f-470a-b643-3ffdc5b53166>

CC-MAIN-2019-18

https://withyoueverystepoftheway.com/aspergers-syndrome-information/glossary/

s3://commoncrawl/crawl-data/CC-MAIN-2019-18/segments/1555578527720.37/warc/CC-MAIN-20190419121234-20190419143234-00174.warc.gz

en

Genesis, the first book of the Old Testament, also serves as the first book of the Torah or Pentateuch, spoken of by Jesus as the Law, the specific expression of God's will. The Torah or תּוֹרָﬣ comprises the first five books of Hebrew Scripture (our Old Testament) - Genesis, Exodus, Leviticus, Numbers, and Deuteronomy. The book was first called Genesis, ΓΕΝΕΣΙΣ, the word for "origin" in the Greek Septuagint translation, as it presented both the origin of the world and mankind, and in particular, the Hebrew people. The book in Hebrew was known by its first word בְּרֵאשִׁית - "in the beginning." 2 Genesis Chapters 1-11 trace the primeval story of creation, and Genesis Chapters 12-50 recount the patriarchal history of Israel. 3 This paper is written in the light of a hermeneutic of faith or through the eyes of faith, as described by Joseph Cardinal Ratzinger (Pope Benedict XVI).4 This paper reflects on the literal sense of Genesis 3, and how Genesis 3:15 fits within the context of the primeval story of creation.5 The New Testament writers and the Fathers of the Church provide the spiritual sense of the passage.6 Genesis 3:15 establishes the trajectory of salvation history and achieves fulfillment in Jesus Christ. Hebrew tradition and the Mishnah name Moses - מֹשֶׁה the author of the Torah. This paper supports the belief that the Law (Torah or Pentateuch) was written in the context of one divinely inspired author, Moses, who served as the originator of the text and served as a collector of literary traditions. This belief is suggested here for 3 reasons. First, Moses is recorded in the Torah as writer (Exodus 24:4, 34:27-28, Deuteronomy 31:9) and was named the author of the Law by Jesus and the New Testament writers (John 5:46, Romans 10:5, Second Corinthians 3:15-16, and the following): 7 "When Moses had finished writing out on a scroll the words of the law in their entirety, he gave the Levites who carry the ark of the covenant of the Lord this order: Take this scroll of the law and put it beside the ark of the covenant of the Lord, your God, that there it may be a witness against you." "We have found him of whom Moses in the law and also the prophets wrote, Jesus of Nazareth, the son of Joseph." Gospel of John 1:45 Second, Dr. Gary Rendsburg has done extensive research into ancient Hebrew morphology and proposes a unity to both Genesis and the Torah.8 For example, he writes that the presence of the epicene personal pronoun is significant in the dating of the Pentateuch. This use of an epicene personal pronoun - one pronoun for both "he" and "she" - signifies ancient Hebrew and was also seen in original Phoenician and Moabite manuscripts as well. The area of the earliest Israelites was also a time of Hittite and Hurrian penetration, neither language of which distinguished for gender. Rendsburg further concludes that the presence of הוא or Pentateuchal HW', since it appeared 120 times throughout the Pentateuch but not in the Prophets or Writings, indicates that the "Pentateuch is early and that the JEDP theory cannot be correct." Third, there is evidence of ancient literary traditions, both biblical and non-biblical, that could serve as sources for the writings of Moses. For example, the Hebrew word for book - סֵפֶר - sefer - appears as early as Genesis 5:1, indicating a written tradition of the generations of Adam. As observed by Jean Astruc in 1753, Moses first appears in the Torah in the Book of Exodus and, while he was an eyewitness for events from Exodus to Deuteronomy, he probably relied on ancient traditions to write the Book of Genesis. It is certainly possible that one author could account for such an intertwining and variance of the naming of God, either as a literary device as seen in Genesis 3, or as seen in God's appearance to Moses in Exodus. 10 The first 11 Chapters of Genesis portray God retaining dominion and relationship with his creation, in spite of man's sin and disobedience. This is evident from the beginning of the creation narrative, when God creates the universe and mankind. In Chapter 1-2:4 God is called אֱלֹהִים or Elohim, and called יהוה אֱלֹהִים or Yahweh Elohim - Lord God, beginning at verse 2:4 and throughout Chapters 2 and 3. God placed our first parents, Adam and Eve, in the Garden of Eden, with trees of every kind of fruit that were pleasing to the eye and good for food. In the middle of the Garden were the tree of life and the tree of knowledge of good and evil. The Lord God commanded the man, saying, “From any tree of the garden you may eat freely; but from the tree of the knowledge of good and evil you shall not eat, for in the day that you eat from it you will surely die” (Genesis 2:16-17). But Adam and Eve break their relationship with God by their sin - חַטָּאת - hattat of disobedience in Genesis 3. Their fall leads to punishment and eventual expulsion from the Garden. Even so, God showed mercy in Genesis 3:15 when he speaks of someone in the future who will "crush the head of the serpent." This is a sign of God's love for his creation; in spite of man's disobedience, he gave mankind hope for the future. God punished Cain after he killed Abel, and told him "the ground is cursed because of you." But then God mitigated his punishment and afforded Cain protection by placing a mark on him (Genesis 4:8-15). Sin continued to spread to such a point that even the heavenly ones breached the natural order by taking earthly wives (Genesis 6:1-4). God regretted he had made the human race and was going to "blot out" man, but then he found favor with Noah (Genesis 6:6-8). God delivered Noah from the Flood in the ark. Even though men created the Tower of Babel, God blessed the generations of Shem and gave Terah a son named Abram (Genesis 11:26). Thus, in spite of man's continued sin and disobedience, God stayed true to mankind and continued to show love and mercy to humanity, a recurrent theme in salvation history that was first presented in Genesis 3:15. 11 "So when the woman saw that the tree was good for food, and that it was a delight to the eyes, and that the tree was to be desired to make one wise, she took of its fruit and ate; and she also gave some to her husband, who was with her, and he ate." The chapter begins with the serpent, who suggests to the woman to eat of the Tree of Knowledge of Good and Evil (verses 1-5). The serpent cleverly tells the woman that if she eats the fruit of the forbidden tree, "you will be like God." There is a subtle but significant change in the naming of God by the serpent - he called God simply Elohim and not his proper name, Lord God (Yahweh Elohim). The woman then echoes the serpent by also calling God Elohim in 3:3. The woman succumbed to the serpent's lie and ate of its fruit and gave the fruit to אָדָם - Adam, the word for both "Adam" and "man" - and he ate. The narrative structure of Genesis 3 offers insight into the meaning of the text. In his investigation of what happened, the Lord God first questions Adam and then Eve (verses 8-13). God does not question the serpent. But he renders punishment in opposite order - first to the serpent, then to the woman, and then to the man. This sequence parallels the order of appearance in the narrative in Chapter 3. The serpent appears first in the chapter, and is named first in the series of punishments - he is the first to blame, as he was the instigator. The woman is the one who appears second, and the third in appearance is Adam, and he is the last to be punished. Dr. Sofia Cavalletti comments that there are two interesting if not unique occurrences during the adjudication part of the narrative in Genesis 3:14-19. God directly curses the serpent only; this occurs nowhere else in the Bible. But God only punishes the man and woman. And the gift of mitigation by God for the man and woman occurs during the punishment of the serpent. There is a prophetic sense to the passage in Genesis 3:15, called the Protoevangelium, the first proclamation of the Good News: for, during the punishment of the serpent, God refers to the future, that there will be one "who will crush the head of the serpent." There is hope for the human race! 12 Following the act of disobedience, the Lord God places his punishment upon the serpent in verses 3:14 and 3:15. As the structure of the punishment is in the form of two pronouncements, which are relatively independent of each other, the two verses are considered individually. 13 Then the LORD God said to the serpent: "Cursed are you above all the livestock, and all the wild animals and from all the wild creatures; You will crawl on your belly and you will eat dust all the days of your life." Genesis 3:14 NIV One cannot help wonder at this point - who is the serpent? The serpent speaks, the only animal that does so in the primeval story of creation. The serpent tempts the woman to be disobedient to the Lord God. The serpent "demotes" God by calling him Elohim and not Yahweh Elohim as the narrator. The serpent actually infers that God is a liar - "No, you will not die..." (v 3:4). Is the serpent just a clever animal? The Hebrew scholar Umberto Cassuto makes the important point that not only is it a question of the serpent speaking, it is what the serpent is saying: "the serpent here speaks solely for the purpose of inciting against the will of the Lord God!" Cassuto notes the serpent in the tradition of Israel at the time was a symbol of evil. Since the serpent is opposed to God, and leads astray God's creation, one cannot help deduce that the serpent is or has become an evil force. 14 What is the perception of the serpent in subsequent Biblical writings? The Old Testament Book of Wisdom reads: "For God formed man to be imperishable; the image of his own nature he made him. But by the envy of the devil, death entered the world, and they who are in his possession experience it." The Book of Revelation specifically names the ancient serpent the devil and Satan. 15 "And the great dragon was thrown down, that ancient serpent, who is called the Devil and Satan, the deceiver of the whole world - he was thrown down to the earth, and his angels were thrown down with him." The Fathers of the Church further elaborate on this subject. St. Augustine, in his commentary on chapter 3 in The Literal Meaning of Genesis, states "This serpent, however, could be called the wisest of of the beasts not by reason of its irrational soul but rather because of another spirit - that of the Devil - dwelling in it." 16 "I will put enmity between you and the woman, and between your offspring and hers; He will crush your head, while you strike at his heel." This passage is striking! A message of hope is given humanity, for, even though God begins to punish the offenders, he speaks of mankind having offspring - so his blessing on future generations of mankind has not been removed. This is in itself a declaration of mercy. God informs the serpent he will put enmity between the serpent and the woman. This is reinforced by the second part of the sentence, “between your offspring and hers.” The Hebrew word זֶרַע - zera - is the same for “offspring” and “seed”, accounting for the difference in English translations, but in both cases the word is masculine. The second sentence begins with the personal pronoun הוא. The word may refer either to the “woman”, or to the "offspring" of the woman. This is often translated in two ways. Both the Latin Vulgate and the Douay-Rheims translations convey this passage as “she will crush your head, while you strike at his heel “... whereas the Revised Standard Version, New American Standard, and the NIV read “he will crush your head...” In view of the epicene personal pronoun (one form to indicate both male and female sex) as described above, both are correct! 17 In summary, Genesis 3:15 has a prophetic nature to it, for there is promise of a redeemer in the future, that one will crush the head of the serpent. God's judgement upon the serpent contains a promise of ultimate victory through the woman by her offspring. This spiritual sense will be revealed throughout Scripture and the Fathers of the Church. God then sentences the woman (3:16): "I will greatly multiply your pain in childbearing; in pain you shall bring forth children, yet your desire shall be for your husband, and he shall rule over you." God continues with the punishment of Adam (3:17-19): "Because you have listened to the voice of your wife, and have eaten of the tree of which I commanded you, ‘You shall not eat of it,’ cursed is the ground because of you; in toil you shall eat of it all the days of your life; thorns and thistles it shall bring forth to you; and you shall eat the plants of the field. In the sweat of your face you shall eat bread till you return to the ground, for out of it you were taken; you are dust, and to dust you shall return." The first appearance of the word "bread" - לֶחֶם - lehem - in the Bible occurs here in Genesis 3:19 in the punishment of Adam. Who is the woman? Adam calls her “woman” - אִשָּׁה - ishah - until he names her Eve - חַוָּה – hawwah - in Genesis 3:20, the "mother of all the living." God then makes clothes for them, then says, "'Behold the man has become like one of us, knowing good and evil; and now, lest he put forth his hand and take also of the tree of life, and eat, and live forever,' he sent them forth from the Garden of Eden, to till the soil from which he was taken" (Genesis 3:22-23). Of interest, two of the words, "hand" יָד - yad, and "know" יָדַע - yadah, are closely related. 18 St. Matthew, in speaking of Mary being with child, sees fulfillment in Jesus Christ of two Old Testament prophecies of the Messiah, that of Isaiah 7:14, that the Messiah would be born of a virgin, and Micah 5:1-4, the Christ would be born in Bethlehem (Matthew 1:20-2:6). St. John in his Gospel was the first to implicitly refer to Mary as Eve, the woman of Genesis 3:15. St. John refers to Mary, the mother of Jesus, as woman at the wedding feast at Cana (John 2:1-5). When Mary informs Jesus that they have no wine, he calls his mother woman, that his “hour has not yet come.” On the third day there was a marriage at Cana in Galilee, and the mother of Jesus was there; Jesus also was invited to the marriage, with his disciples. When the wine failed, the mother of Jesus said to him, "They have no wine." And Jesus said to her, "O woman, what have you to do with me? My hour has not yet come." His mother said to the servants, "Do whatever he tells you. As Jesus was dying on the cross, he called out to his mother, "Woman, behold your son" (John 19:26) . When Jesus saw his mother, and the disciple whom he loved standing near, he said to his mother, "Woman, behold, your son!" Then he said to the disciple, "Behold, your mother!" And from that hour the disciple took her to his own home. Father George Montague notes that woman was not the customary way for a semitic son to call his mother, so that together in these two scenes, woman suggests much deeper symbolism. Jesus is the offspring of the woman, and by naming Mary with this title, Jesus is suggesting that the earlier promise of salvation is being fulfilled. Montague sees this motif of the conquest of satan through the woman’s son in Revelation 12. St. John continues in Chapter 12 of the Book of Revelation to refer to the "woman clothed with the sun." One can trace development from the “seed of the woman” and painful birth in Genesis 3:15-16 to the concept of the “woman in travail” in Micah's prophecy of the Messiah coming from Bethlehem to the "woman in travail" in Revelation 12:2-5. He further notes that the word "offspring" in Revelation 12:17 is the same word used in Genesis 3:15 for the "seed" of the woman who would crush the head of the serpent. St. Paul addressed original sin, and calls Adam "a type of the one to come," referring to Christ in his Letter to the Romans. The word for Adam and man is the same in Hebrew, and Jesus called himself the Son of Man. Therefore as sin came into the world through one man and death through sin, and so death spread to all men because all men sinned - sin indeed was in the world before the law was given, but sin is not counted where there is no law. Yet death reigned from Adam to Moses, even over those whose sins were not like the transgression of Adam, who was a type of the one who was to come. St. Paul uses similar language to Genesis 3:15 to refer to Christ crushing Satan: Then the God of peace will soon crush Satan under your feet. The grace of our Lord Jesus Christ be with you. St. Paul continues in First Corinthians to emphasize Christ as the New Adam who brings life: For since death came through a human being, the resurrection of the dead came also from a human being. For just as in Adam all die, so too in Christ shall all be brought to life. First Corinthians 15:21-22 Jesus Christ is the one who fulfills the prophecy of a Redeemer in Genesis 3:15, as aptly expressed in the Letter to the Hebrews: 20 Now since the children share in blood and flesh, he likewise shared in them, that through death he might destroy the one who has the power of death, that is, the devil, and free those who through fear of death had been subject to slavery all their life. Surely he did not help angels but rather the descendants of Abraham; therefore, he had to become like his brothers in every way, that he might be a merciful and faithful high priest before God to expiate the sins of the people. The Tree of Life is present only in Genesis and Revelation. What awaits the faithful followers of Christ is the New Jerusalem in the Kingdom of God with the Tree of Life: Then the angel showed me the river of the water of life, as clear as crystal, flowing from the throne of God and of the Lamb down the middle of the great street of the city. On each side of the river stood the tree of life, bearing twelve crops of fruit, yielding its fruit every month. And the leaves of the tree are for the healing of the nations. One may see in an overview that the Books of Genesis and Revelation, the first and last books of the Bible, serve as bookends to the whole of salvation history, the triumph of God through his Son Jesus Christ. St. Justin Martyr (120-165 AD) was the first Church Father to draw an explicit comparison between Eve and Mary: "For Eve, being a virgin and undefiled, conceiving the word that was from the serpent, brought forth disobedience and death; but the Virgin Mary, taking faith and joy, when the Angel told her the good tidings, that the Spirit of the Lord should ... overshadow her, and therefore the Holy One that was born of her was Son of God, answered, "Be it done to me according to Thy word." The concept of Genesis 3:15 being the Proto-evangelium or "First Gospel" is attributed to St. Irenaeus of Lyons (135-202) from his work Against Heresies: 22 "For this end did He put enmity between the serpent and the woman and her seed, they keeping it up mutually: He, the sole of whose foot should be bitten, having power also to tread upon the enemy's head; but the other biting, killing, and impeding the steps of man, until the seed did come appointed to tread down his head, - which was born of Mary, of whom the prophet speaks: 'Thou shalt tread upon the asp and the basilisk; thou shalt trample down the lion and the dragon (Psalm 91:13).'" - St. Irenaeus, Against Heresies, Book III, Chapter 23, Number 7 23 "Christ has therefore, in His work of recapitulation, summed up all things, both waging war against our enemy, and crushing him who had at the beginning led us away captives in Adam, and trampled upon his head, as thou can perceive in Genesis that God said to the serpent, 'And I will put enmity between thee and the woman, and between thy seed and her seed; He shall be on the watch for thy head, and thou on the watch for his heel.' For from that time, He who should be born of a woman, namely from the Virgin, after the likeness of Adam, was preached as keeping watch for the head of the serpent. This is the seed of which the apostle says in the Letter to the Galatians, 'that the law of works was established until the seed should come to whom the promise was made (Galatians 3:19).' This fact is exhibited in a still clearer light in the same Epistle where he thus speaks: 'But when the fullness of time was come, God sent forth His Son, made of a woman (Galatians 4:4).' For indeed the enemy would not have been fairly vanquished, unless it had been a man born of a woman who conquered him. For it was by means of a woman that he got the advantage over man at first, setting himself up as man's opponent. And therefore does the Lord profess Himself to be the Son of man, comprising in Himself that original man out of whom the woman was fashioned, in order that, as our species went down to death through a vanqushed man, so we may ascend to life again through a victorious one; and as through a man death received the palm of victory against us, so again by a man we may receive the palm against death." - St. Irenaeus, Against Heresies, Book V, 21, 1 St. Jerome (347-420) translated the Hebrew texts while living an ascetic life in Bethlehem and completed his work in 405. St. Jerome's Latin Vulgate Bible was the standard Bible in Western civilization for over 1000 years! He employed the word she for the epicene form in Genesis 3:15. This of course had a profound effect on Marian devotion. St. Jerome captured the meaning at the time through an expression: "Death through Eve, life through Mary." One still sees images today of Mary trampling the head of the serpent. 24 In his Decree on the Immaculate Conception, Ineffabilis Deus, published December 8, 1854, Pope Pius IX declared: "These ecclesiastical writers in quoting (Genesis 3:15), by which at the beginning of the world God announced his merciful remedies prepared for the regeneration of mankind - words by which he crushed the audacity of the deceitful serpent and wondrously raised up the hope of our race - taught that by this divine prophecy the merciful Redeemer of mankind, Jesus Christ, the only begotten Son of God, was clearly foretold: That his most Blessed Mother, the Virgin Mary, was prophetically indicated; and, at the same time, the very enmity of both against the evil one was significantly expressed." In his solemn declaration on the Assumption of Mary, Munificentissimus Deus, published November 1, 1950, Pope Pius XII refers Mary the new Eve, and the Proto-evangelium: "We must remember especially that, since the second century, the Virgin Mary has been designated by the holy Fathers as the new Eve, who, although subject to the new Adam, is intimately associated with him in that struggle against the infernal foe which, as foretold in the Protoevangelium (Genesis 3:15), would finally result in complete victory over the sin and death which are always mentioned together in the writings of the Apostle of the Gentiles (Romans 5:12-6:11; I Corinthians 15:21-26, 15:45-57)." 26 The Pontifical Biblical Commission defined the sensus plenior or "fuller sense as a deeper meaning of the text, intended by God but not clearly expressed by the human author.” This fuller sense is to be found when an earlier text is given a new meaning by a later biblical author, such as Isaiah 7:14 is given a fuller sense by Matthew 1:23 when referring to the virginal conception of Jesus.27 Gordon Wenham considers Genesis 3:15 a subject for the fuller sense: "While a messianic interpretation may be justified in the light of subsequent revelation, it would perhaps be wrong to suggest that this was the narrator's own understanding." 28 Pope John Paul II, in his 1987 encyclical Redemptoris Mater, reminds us that Mary is the "woman" foreshadowed in that promise made to our first parents after their fall into sin, according to the Book of Genesis (Genesis 3:15) ... The fullness of grace indicates all the supernatural munificence from which Mary benefits by being chosen and destined to being the Mother of Christ." 29 The Catechism of the Catholic Church instructs that "Genesis 3:15 is called the Protoevangelium or First Gospel: the first announcement of the Messiah and Redeemer, of a battle between the serpent and the Woman, and of the final victory of a descendant of hers." 30 Genesis 3:15 is a promise, a message of hope for mankind. God created this world and retains dominion over the world. God will not let the force of evil prevail, but will deliver mankind from its grip. God punished our first parents for their disobedience, but as a sign of his mercy, preserved his blessing of future generations. The expulsion of Adam and Eve from the Garden of Eden is mitigated by hope of an offspring of the woman. The primeval story of creation presents God retaining dominion and relationship with his creation in spite of man's disobedience and fall. Ever since Adam and Eve, there has been a struggle between good and evil. Adam and Eve were led to the sin of disobedience, when the serpent achieved victory by leading our first parents astray. But after pronouncing punishment, the Lord God mitigated the sentence by promising an offspring of the woman, a son of man to crush the head of the serpent in Genesis 3:15. God does not give up on his creation! New Testament Scripture and the Church Fathers saw Jesus Christ as the New Adam, the Son of Man, the offspring of Mary the New Eve. Jesus died on the Cross to fulfill his Father's will, triumph over death, and redeem mankind. Genesis 3:15 sets the course of salvation history throughout the Bible and finds fulfillment in Jesus Christ. 1 Andrew Minto. Genesis 1-11: Exegesis and Patristics. Class Lectures and Notes, Franciscan University, Steubenville, Ohio, 2004. 2 The Hebrew Bible. Biblia Hebraica Stuttgartensia. Masoretic Text, Fifth Edition. Deutsche Bibelgesellschaft, 2006. 3 JPS Hebrew-English Tanakh. Philadelphia: Jewish Publication Society, 2000. 4 Joseph Cardinal Ratzinger. "Foundations and Approaches of Biblical Exegesis." Origins 17 (35): 593-602, February 11, 1988. 5 The Second Vatican Council. "Lumen Gentium" and "Dei Verbum," in Vatican Council II, Austin Flannery (ed): (New York: Dominican Publications, Costello Publishing Company, 1996), 416, 750-765. 6 Pontifical Biblical Commission. The Interpretation of the Bible in The Church. (Boston: Pauline Books & Media, 1993), 82-88. 7 Navarre Revised Standard Version of the The Holy Bible. Dublin, Ireland: Four Courts Press, 1999-2005. 8 Gary A Rendsburg. "Ancient Hebrew Morphology," in Kaye AS (ed), Morphologies of Asia and Africa (Winona Lake, Indiana: Eisenbrauns, 2007), 85-105. 9 Gary A Rendsburg. "A New Look at Pentateuchal HW'." Biblica 63 (1982): 351-369. 10 Gary A Rendsburg. The Redaction of Genesis. Winona Lake, Indiana: Eisenbrauns, 1986. 11 Pope John Paul II. "Original Unity of Man and Woman," in Theology of the Body - Human Love in the Divine Plan, (Boston: Pauline Books & Media, 1997), 32-93. 12 Sofia Cavalletti. The History of the Kingdom of God, Part I: From Creation to Parousia. (Chicago: Catechesis of the Good Shepherd, Liturgy Training Publications, 2012), 42-60. 13 Allen P. Ross. Introducing Biblical Hebrew. Grand Rapids, Michigan: Baker Academic, 2001. 14 Umberto Cassuto. A Commentary on the Book of Genesis. (Jerusalem: Magnes Press, Hebrew University, 1978), 138-162. 15 Allen P. Ross. Creation and Blessing: Guide to the Study and Exposition of Genesis. (Grand Rapids, Michigan: Baker Books, 1996), 130-151. 16 St. Augustine. The Literal Meaning of Genesis. Book XI, Chapter II. (New York: Ancient Christian Writers, 1982), Vol 42:135-136. 17 Andrew Minto. Genesis 1-11: Exegesis and Patristics, 2005. 18 Menahem Mansoor. Biblical Hebrew - Step by Step, Volume One. Grand Rapids, Michigan: Baker Book House, 1980, 24th Printing, 2007. Volume Two, Third Edition, 1984, 13th printing, 2002. 19 Father George T. Montague. The Apocalypse. (Ann Arbor, Michigan: Servant Publications, 1992), 141-150. 20 Nancy Guthrie. The Promised One: Seeing Jesus in Genesis. (Wheaton, Illinois: Crossway, 2011), 61-85. 21 St. Justin Martyr. "Dialogue with Trypho", Chapter 100, in Fathers of the Church. New York: Christian Heritage, 1948. 22 Pope John Paul II. Theology of the Body - Human Love in the Divine Plan, (1997), 93, 458-460. 23 Irenaeus of Lyons. Against Heresies - Book III, Chapter 23, 7, in The Apostolic Fathers, Coxe AC (ed). Edinburgh: American Edition of the Ante-Nicene Fathers, 1885; and Book V, Chapter 21, 1, in Ancient Christian Commentary on Scripture: Genesis 1-11, Andrew Louth (ed). (Downers Grove, Illinois: InterVarsity Press, 2001), 90-91. 24 Andrew Minto. Genesis 1-11: Exegesis and Patristics, 2005. 25 Pope Pius IX, Ineffabilis Deus, December 8, 1854, on Welcome to the Catholic Church on CD-ROM, Gervais, Oregon: Harmony Media, 2005. 26 Pope Pius XII, Munificentissimus Deus, November 1, 1950, on Welcome to the Catholic Church on CD-ROM, Gervais, Oregon: Harmony Media, 2005. 27 Pontifical Biblical Commission, The Interpretation of the Bible in The Church, 82-88. 28 Gordon J. Wenham. World Biblical Commentary: Genesis 1-15. (Waco, Texas: Word Books, 1987), 80-91. 29 Pope John Paul II. God's Yes to Man - The Encyclical Redemptoris Mater. San Francisco: Ignatius Press, 1988. 30 Catechism of the Catholic Church, Second Edition. Libreria Editrice Vaticana, (Washington, DC: US Catholic Conference, 2000), Paragraphs 115-119, 410.

<urn:uuid:5152895e-9e29-46fa-91d1-3920bda33938>

CC-MAIN-2019-18

http://biblescripture.net/First.html

s3://commoncrawl/crawl-data/CC-MAIN-2019-18/segments/1555578527720.37/warc/CC-MAIN-20190419121234-20190419143234-00175.warc.gz

en

A bust of John Steinbeck located on Cannery Row in Monterey, California, the setting of his 1945 novel Cannery Row. |Born:||February 27 1902 Salinas Valley, California, United States |Died:||December 20 1968 New York, New York, United States |Magnum opus:||The Grapes of Wrath| John Ernst Steinbeck (February 27 1902 – December 20 1968) was one of the best-known and most widely read American writers of the twentieth century. A winner of the Nobel Prize for Literature in 1962, he wrote Of Mice and Men (1937) and the Pulitzer Prize-winning novel The Grapes of Wrath (1939), both of which examine the lives of the working class and migrant workers during the Dust Bowl and subsequent Great Depression. Steinbeck often populated his stories with struggling characters, and his fiction drew on real historical conditions and events in the first half of the twentieth century. His body of work reflects his wide range of interests, including marine biology, politics, religion, history, and mythology. Seventeen of his works, including Cannery Row (1945), The Pearl (1947), and East of Eden (1952), went on to become Hollywood films (some even multiple times), and Steinbeck also achieved success as a Hollywood writer, receiving an Academy Award nomination for Best Story in 1944 for Alfred Hitchcock's Lifeboat. Steinbeck was a socialist who, like many intellectuals of his era, idealized the working class and accentuated class divisions in his writings. His depictions of class conflict and exploitation of the poor were informed by genuine empathy toward victims of social injustice, yet provoked controversy. The social realism, psychological insight, and vividly drawn protagonists of his most influential work, The Grapes of Wrath, had a lasting impact on public attitudes toward migrant laborers and has been compared to Harriet Beecher Stowe's Uncle Tom's Cabin, which significantly influenced popular attitudes toward slavery in Southern culture. John Ernst Steinbeck was born in Salinas, California, of German American and Irish American descent. Johann Adolf Großsteinbeck (i.e. Grossteinbeck), Steinbeck's grandfather, changed the family name from Grossteinbeck to Steinbeck when he migrated to the United States. His father, John Steinbeck, Sr., served as the Monterey County Treasurer while his mother, Olive (Hamilton) Steinbeck, a former school teacher, fostered Steinbeck's love of reading and writing. During summers he worked as a hired hand on nearby ranches. Steinbeck graduated from Salinas High School in 1919. He then attended Stanford University intermittently until 1925, then departing to New York City without graduating to pursue his dream as a writer. However, he was unable to get any of his work published and returned to California. Steinbeck's first published novel, Cup of Gold, based on the privateer Henry Morgan's life and death, was published in 1929. The novel centers on Morgan's assault and sacking of Panama City, sometimes referred to as the "Cup of Gold," and the woman "fairer than the sun" reputed to be found there. Steinbeck followed this with three further novels between 1931 and 1933. The Pastures of Heaven, published in 1932, consisted of twelve interconnected stories about a valley in Monterey, California, which was discovered by a Spanish corporal while chasing runaway American Indian slaves. In 1933 Steinbeck published two works; The Red Pony is a short 100-page, four-chapter novella, which recollects memories from Steinbeck's childhood. To a God Unknown follows the life of a homesteader and his family in California. Steinbeck achieved his first critical success with the novel Tortilla Flat (1935), which won California Commonwealth Club's Gold Medal. The book portrays the adventures of a group of young men in Monterey who denounce society by enjoying life and wine before U.S. Prohibition in the 1920s. The book was made into a film of the same name in 1942, starring Spencer Tracy, Hedy Lamarr, and John Garfield. Steinbeck began to write a series of "California novels" and Dust Bowl fiction, set among common people during the Great Depression. These included In Dubious Battle in 1936, Of Mice and Men in 1937, and The Grapes of Wrath in 1939. Of Mice and Men is a novel written in the form of a tragedy play. The story follows two traveling ranch workers, George and the dim-witted but physically powerful itinerant farmhand Lennie, trying to work up enough money to buy their own farm. It encompasses themes of racism, loneliness, prejudice against the mentally ill, and the struggle for personal independence. Along with Grapes of Wrath, East of Eden, and The Pearl, Of Mice and Men is one of Steinbeck's best known works. Of Mice and Men was critically acclaimed and the stage adaptation of the work was also a success, starring Broderick Crawford as Lennie and Wallace Ford as George. However, Steinbeck refused to travel from his home in California to attend any performance of the play during its New York run, telling Kaufman that the play as it existed in his own mind was "perfect," and that anything presented on stage would only be a disappointment. Steinbeck would ultimately write only two stage plays (his second was an adaptation of The Moon Is Down). The novel was made into a movie three times, in 1939 starring Burgess Meredith, Lon Chaney Jr., and Betty Field, in 1982 starring Randy Quaid, Robert Blake and Ted Neeley, and in 1992 starring Gary Sinise and John Malkovich. Steinbeck followed this success with The Grapes of Wrath (1939), based on newspaper articles he had written in San Francisco, and considered by many to be his finest work. The novel won the Pulitzer Prize in 1940 even as it was made into a famous film version starring Henry Fonda and directed by John Ford. The success of The Grapes of Wrath, however, was not free of controversy, as Steinbeck's leftist political views, portrayal of the ugly side of capitalism, and mythical reinterpretation of the historical events of the Dust Bowl migrations led to backlash against the author, especially close to home. In fact, claiming the book was both obscene and misrepresented conditions in the county, the Kern County Board of Supervisors banned the book from the county's public schools and libraries in August 1939. This ban lasted until January 1941. Of the controversy, Steinbeck himself wrote, "The vilification of me out here from the large landowners and bankers is pretty bad. The latest is a rumor started by them that the Okies hate me and have threatened to kill me for lying about them. I'm frightened at the rolling might of this damned thing. It is completely out of hand; I mean a kind of hysteria about the book is growing that is not healthy." The film versions of The Grapes of Wrath and Of Mice and Men (by two different movie studios) were in production simultaneously. Steinbeck spent a full day on the set of The Grapes of Wrath and the next day on the set of Of Mice and Men. Steinbeck divorced his first wife, Carol Henning, in 1943. He immediately married Gwyn Conger that same year, and had two sons, Thomas Myles in 1944 and John Steinbeck IV (Catbird), in 1946. They divorced in 1948. Two years later, Steinbeck married Elaine Scott, the ex-wife of actor Zachary Scott. They were married until his death in 1968. In 1940, Steinbeck's interest in marine biology and his friendship with Ed Ricketts led him to a voyage in the Gulf of California, also known as the "Sea of Cortez," where they collected biological specimens. Steinbeck's narrative portion of this collecting expedition (with some philosophical additions by Ricketts) was later published as The Log from the Sea of Cortez, and describes the daily experiences of the trip. The full catalog of the marine invertebrates taken was also published as a biological catalog of the intervertebrate life of the Gulf of California. While it remains a classic in nature studies, it failed to find a popular audience. Ricketts had a significant impact on Steinbeck as a social traveling companion and fellow researcher on trips to collect biological specimens. Steinbeck even based his character "Doc" in the novels Cannery Row and Sweet Thursday on Ricketts. Steinbeck's close friendship with Ricketts would end when Steinbeck moved away from Salinas when separating from his wife Carol. During the Second World War, Steinbeck served as a war correspondent for the New York Herald Tribune. During the war, Steinbeck saw action in accompanying some of the commando raids of Douglas Fairbanks, Jr.'s Beach Jumpers program, which (among other things) launched small-unit diversion operations against German-held islands in the Mediterranean. As a war correspondent, Steinbeck would certainly have been executed if he had been captured with the automatic weapon which he routinely carried on such missions. These missions would help to earn Fairbanks a number of decorations, but as a civilian, Steinbeck's role went officially unrecognized. Some of Steinbeck's writings from his correspondence days were later collected and made into Once There Was A War (1958). During the war, he continued to work in film, writing Alfred Hitchcock's Lifeboat (1944), and the film A Medal for Benny (1945), about paisanos from Tortilla Flat going to war. John Steinbeck later requested that his name be removed from the credits of Lifeboat, because he believed the final version of the film had racist undertones. His novel The Moon is Down (1942), about the Socrates-inspired spirit of resistance in a Nazi-occupied village in northern Europe, was made into a film almost immediately. It is presumed that the country in question was Norway, and in 1945 Steinbeck received the Haakon VII Medal of freedom for his literary contributions to the Norwegian resistance movement. After the war, he wrote The Pearl (1947), already knowing it would be filmed, and traveled to Mexico for the filming; on this trip he would be inspired by the story of Emiliano Zapata, and wrote a film script (Viva Zapata!, which was directed by Elia Kazan and starred Marlon Brando and Anthony Quinn. In 1948 Steinbeck again toured the Soviet Union, together with renowned photographer Robert Capa. They visited Moscow, Kiev, Tbilisi, Batumi and the ruins of the Battle of Stalingrad. He wrote a humorous report book about their experiences, A Russian Journal, that was illustrated with Capa's photos. Avoiding political topics and reporting about the life of simple Soviet peasants and workers, Steinbeck tried to generate more understanding towards the Soviet people in a time when anti-Communism was widespread in the U.S. and the danger of war between the two countries was heightened. In the same year he was also elected to the American Academy of Arts and Letters. Following his divorce of Gwyndolyn Conger, and the sudden, tragic death of his close friend Ed Ricketts, Steinbeck wrote one of his most popular novels, East of Eden (1952). This book, which he considered his best, traces the fortunes of two families of settlers, the Trasksand the Hamiltons—based on Steinbeck's maternal ancestry—and set in rural California in the years around the turn of the century. The novel is roughly adapted from the biblical story of Cain and Abel and follows to trajectory of lives of sharply contrasting values. In 1952, Steinbeck appeared as the on-screen narrator of 20th Century Fox's film, O. Henry's Full House. Although Steinbeck later admitted he was uncomfortable before the camera, he provided interesting introductions to several filmed adaptations of short stories by the legendary writer O. Henry. About the same time, Steinbeck recorded readings of several of his short stories for Columbia Records; despite some obvious stiffness, the recordings provide a vivid record of Steinbeck's deep, resonant voice. Following the success of Viva Zapata!, Steinbeck collaborated with Kazan on the theatrical production of East of Eden, James Dean's film debut. Steinbeck found the actor was arrogant, but nevertheless said that Dean was the perfect person to play Cal Trask. In 1960, Steinbeck bought a pickup truck and had it modified with a custom-built camper top—rare for that day—and drove across the United States with his faithful poodle, Charley. In the sometimes comical, sometimes melancholic book, Travels with Charley: In Search of America, Steinbeck describes his journeys from Maine to Montana to California, and from there to Texas and Louisiana and back to his home in Long Island. In the work, Steinbeck reminisces about his lost youth and lost roots, and both criticizes and praises America on many levels. The restored camper truck is on exhibit in the National Steinbeck Center in Salinas, California. Steinbeck's last novel, The Winter of Our Discontent, was written in 1961. In many of his letters to friends, he spoke of how this book was his statement on the moral decay of the U.S. culture, and it is quite different in tone to Steinbeck's amoral and ecological description of the innocent thievery of the protagonists of his earlier works such as Tortilla Flat and Cannery Row. The novel was critically savaged and commercially unsuccessful. In 1962, Steinbeck won the Nobel Prize for Literature for his “realistic and imaginative writing, combining as it does sympathetic humor and keen social perception.” Privately, he felt he did not deserve the honor. In his acceptance speech, he said: [T]he writer is delegated to declare and to celebrate man's proven capacity for greatness of heart and spirit – for gallantry in defeat, for courage, compassion and love. In the endless war against weakness and despair, these are the bright rally flags of hope and of emulation. I hold that a writer who does not believe in the perfectibility of man has no dedication nor any membership in literature." Steinbeck's literary background brought him into close collaboration with leftist authors, journalists, and labor union figures, who may have influenced his writing. Steinbeck was mentored by radical writers Lincoln Steffens and his wife Ella Winter, and through Francis Whitaker, a member of the United States Communist Party’s John Reed Club for writers, Steinbeck met with strike organizers from the Cannery and Agricultural Workers' Industrial Union. Steinbeck complained publicly about government harassment. In a 1942 letter to United States Attorney General Francis Biddle he wrote "Do you suppose you could ask Edgar's boys to stop stepping on my heels? They think I am an enemy alien. It is getting tiresome". The FBI issued ingenuous denials that Steinbeck was not "under investigation." In fact, Steinbeck was indeed the object of intense FBI scrutiny, although not technically "under investigation," a term reserved in FBI parlance for investigation in connection with a specific crime. Steinbeck was also screened for of his political beliefs by Army Intelligence during World War II to determine his suitability for an officer's commission. They found him ideologically unqualified. In later years, he would be criticized from the left by those who accused him of insufficient ideological commitment to Socialism. In 1948 a women's socialist group in Rome condemned Steinbeck for converting to "the camp of war and anti-Marxism." Then in a 1955 article in the Daily Worker his portrayal of the American Left was criticized. In 1967, at the behest of Newsday Steinbeck went to Vietnam to report on the war. Steinbeck saw the Vietnam War as a heroic venture, and his sons both served in Vietnam prior to his death. Steinbeck visited one son on the battlefield (at one point being allowed to man a machine-gun watch position at night at a firebase, while his son and other members of his platoon slept). His sympathetic portrait of the United States Army caused the New York Post to denounce him for betraying his liberal past, while Steinbeck biographer Jay Parini has suggested that Steinbeck's personal affection for Lyndon Johnson, whom he considered a friend, influenced his view of the war. Earlier, in September 1964, Steinbeck had been awarded the United States Medal of Freedom by President Johnson. Steinbeck was a close associate of playwright Arthur Miller, author of Death of a Salesman and The Crucible. In the 1950s, Steinbeck took a personal and professional risk by standing up for his companion, who was held in contempt of the United States Congress for refusing to name names in the infamous House Un-American Activities Committee trials. Steinbeck called the period one of the "strangest and most frightening times a government and people have ever faced." John Steinbeck died of a heart attack on December 20, 1968 in New York City. In accordance with his wishes, his body was cremated and an urn containing his ashes were interred at his family gravesite in Salinas. His third wife, Elaine was buried with him in 2004. Like William Faulkner and Mississippi, Steinbeck was deeply associated with a specific region. Drawing from his experiences in Salinas Valley, California, and the migrations of laborers into California in the 1930s, Steinbeck composed fiction richly informed by local scene, speech, and history. He expressed special empathy for the downtrodden, those deprived of dignity and in extreme want, yet animated by emotions, hopes, and ideals that transcend class. Steinbeck dramatized the social upheaval of the Great Depression and Dust Bowl era, and criticized impersonal economic forces that divided society into haves and have-nots. Steinbeck has been criticized both for his socialist political leanings and the unevenness of his fiction. In his lesser novels, comic episodes of promiscuity give way to socially dysfunctional behavior that is treated sentimentally, obscuring the moral import of the action. In his greatest works, notably The Grapes of Wrath and East of Eden, Steinbeck explored contemporary social history with insight into human psychology and dramatic storytelling. On the strength of these works Steinbeck became known throughout the world, receiving the Nobel Prize for Literature in 1962. "His place in [U.S.] literature is secure," reviewer Charles Poore wrote in the New York Times. And it lives on in the works of innumerable writers who learned from him how to present the forgotten man unforgettably." Many of Steinbeck's works are often included on required reading lists in American high schools, as well as in other countries, notably in Canada and the United Kingdom. In the United Kingdom Of Mice and Men is one of the key English Literature texts used by the examining body. A study by the Center for the Learning and Teaching of Literature in the United States found that Of Mice and Men was one of the ten most frequently read books in both public high and independent schools. All links retrieved May 23, 2018. 1951: Pär Lagerkvist | 1952: François Mauriac | 1953: Winston Churchill | 1954: Ernest Hemingway | 1955: Halldór Laxness | 1956: Juan Ramón Jiménez | 1957: Albert Camus | 1958: Boris Pasternak | 1959: Salvatore Quasimodo | 1960: Saint-John Perse | 1961: Ivo Andrić | 1962: John Steinbeck | 1963: Giorgos Seferis | 1964: Jean-Paul Sartre | 1965: Michail Aleksandrovich Sholokhov | 1966: Shmuel Yosef Agnon, Nelly Sachs | 1967: Miguel Ángel Asturias | 1968: Yasunari Kawabata | 1969: Samuel Beckett | 1970: Aleksandr Solzhenitsyn | 1971: Pablo Neruda | 1972: Heinrich Böll | 1973: Patrick White | 1974: Eyvind Johnson, Harry Martinson | 1975: Eugenio Montale New World Encyclopedia writers and editors rewrote and completed the Wikipedia article in accordance with New World Encyclopedia standards. This article abides by terms of the Creative Commons CC-by-sa 3.0 License (CC-by-sa), which may be used and disseminated with proper attribution. Credit is due under the terms of this license that can reference both the New World Encyclopedia contributors and the selfless volunteer contributors of the Wikimedia Foundation. To cite this article click here for a list of acceptable citing formats.The history of earlier contributions by wikipedians is accessible to researchers here: The history of this article since it was imported to New World Encyclopedia:

<urn:uuid:bc63cdac-9566-49ce-ba66-cf1d180d0eb3>

CC-MAIN-2019-18

http://web.newworldencyclopedia.org/entry/John_Steinbeck

s3://commoncrawl/crawl-data/CC-MAIN-2019-18/segments/1555578528702.42/warc/CC-MAIN-20190420060931-20190420082931-00137.warc.gz

en

Drama – Drama guide and glossary Drama conventions and terminology Actor – This word normally describes a person who takes the role of one or more characters in a play to be performed to an audience. In process drama, where there is no outside audience, the word “participant” is normally used to describe the students making drama whether in- or out-of-role, and “actor” is used when they are using theatrical conventions to present images or scenes within the drama to others. Blocking – In a theatre production, this refers to the plan of movements of the actors on-stage to ensure that the action is visible to the audience, and aesthetically effective. Traditionally, the director decides this, usually in advance. Nowadays, most directors work with actors to decide the blocking during rehearsals, though sometimes special effects and specific scenes have to be decided in advance for the sake of the stage manager or lighting designer. When primary children are performing, it is doubly important to work with the actors so that they can understand the need and motivation for moves, and contribute to the whole production. Character – This defines a person (or other animated figure) in a dramatic context. It is a synonym for “role”, although sometimes it is used to denote roles of specific individuals (rather than more generic roles such as “journalist” or “scientist”). “Characterisation” refers to fleshing out a role until it is a realistic and believable character. Chorus – This convention from ancient Greek tragedies can be very useful in performance work with young people as it ensures that all members of the group can play a useful role, and can introduce an element of ritual. The classic chorus uses words recited in unison and group movement in order to comment on the action. The chorus provides a break from the story, and can introduce ironic elements, especially if the chorus members have characters, not just a “shadowy” role (see Role-play - Twilight or Shadowy role). These characters could include, for instance, local townspeople who are implicated in the results of the main dramatic action, yet are powerless to change it. Collage Theatre – This refers to performance that is constructed from a range of theatrical genres patched together, rather than a straightforward narrative that may or may not include dialogue. Collage theatre usually includes statements and readings, as well as visual and physical symbols. Community Theatre – This is a generic term that has come to refer to plays and drama work taking place within very specific localities or ethnic groups to highlight their concerns, celebrate their identity, and provide a vehicle through which they can express themselves, occasionally in protest. Context – In any drama lesson (or any drama event), there are a number of contexts that must be taken into account: - the real context, that is, the real world of the participants, their lives, experiences, and relationships that they bring to the drama lesson - the dramatic context, namely the fictional world of the drama and its characters. Between these components is the context of the event (sometimes known as the performance context), which is the organisation of time and space that must take place to turn the classroom into the “special place” or theatre. The dramatic context is then created in this “special place” and the real context is temporarily suspended. Contrast – This is a very important element of drama, both to keep the children interested and to make the drama powerful. There are some particularly significant dimensions of contrast within drama of which a good teacher will need to make use. These include: sound/silence; light/dark; real/unreal; movement/stillness; big/small movements; quick/slow; direct/indirect; light/heavy; sudden/continuous; smooth/jerky; and so on. Costumes – Like props, costumes are optional, and should be minimal. They can help both teacher and students to create a more authentic sense of the context and setting; however, they can be a distraction or make the wearer feel more self-conscious and as though they are “acting” rather than experiencing the role. In this drama, costumes were the children’s idea and enhanced the ceremony. De-roling (debriefing) – This is the process where actors step out of their roles and back to the real context. Children can usually do this more effortlessly than adults, as children do it in their own dramatic play all the time. That said, a general discussion at the end of a drama or a scene where you let the children talk freely is often all that is necessary to release residual tension. A thought-tracking circle (see Thought-tracking) can be a good intermediate step to help those students who are affected by a role longer than others, particularly if there have been emotional issues involved in the drama, such as family relationships or death. Director – In a theatre production, the director is responsible for what the audience sees on stage; the interpretation of the play; rehearsing the actors and ensuring that their performances fit into the whole; and working with the designer and other experts (such as choreographers and fight arrangers) to create the most effective and powerful result. Distance – See Framing. Drama-in-education (DIE) – This term is synonymous with “educational drama” and “drama education” as a generic description. Like TIE (see Theatre-in-education (TIE)), the term was coined in England to narrowly define an approach to classroom drama based on process drama, the central use of role-play and active participation, and, usually, the exploration of social issues through drama. Dramatic reconstruction - If a particular key moment has some mystery about it, or the stories of different characters contradict each other, you can stop role-playing, and ask the group to become actors in a “docu-drama”. In such situations, the group is given the task of re-constructing a moment based on the information that they have been given. If two or more sub-groups each have to reconstruct the same moment, this makes good discussion material through comparing the reconstructions. This technique was used three times in The Treasure of Trivandrum. Dramaturge (dramaturgy) – You may occasionally come across this word, which has two alternative definitions in the theatre: a.) A playwriting dramaturge helps a playwright to shape and structure his or her dramatic ideas into a theatrical script b.) A production dramaturge helps the director to study the playscript, research its background, its context and the playwright’s life, and other productions of the play. Whether or not you know the term, you will often act as one or other of these kinds of dramaturge in your class. Dual affect – This phenomenon is an important aspect of the drama experience that the teacher must understand. A child (or any other actor) involved as a character in dramatic play or performance will emotionally exist in two worlds simultaneously: “inside” the role (identifying and empathising with the character and their situation), and “outside” (enjoying or analysing the sensation). Though sometimes deeply moved and emotional in a role, the normal player in a drama is always distanced enough to come back to real life at any time. Empathy – This is the emotional quality of identifying with a character and a dramatic situation (or “standing in another’s shoes”), so that the participant feels and acts instinctively and unselfconsciously as that character. Enrolling (Enrolment) – This is the process of building belief and identification with the role of the character being played. Occasionally it simply consists of giving the players a point of view and a task: “You are journalists about to interview local citizens. What questions might you ask to get a really good story for your program?” If the role demands deep empathy and passion, this must be painstakingly built, perhaps with preliminary exercises, in-role writing, or preparatory role-play in pairs. Whatever the depth, the teacher must always take care of, and allow enough time for, this component of the drama. Five Ws - A simple schema to help plan the essentials of any new drama: What’s happening? Who is involved? Where and When is it happening? ...and the most important one, What’s at stake? The first four Ws provide the dramatic context, and the last provides the tension to drive the drama. Focus – When the Five Ws have been decided upon, the drama needs to be focused to find a beginning and a frame for the action, so that the students work in a significant way rather than just enacting a story (see Framing). Focus Question – This is the question that the drama sets out to answer, and the teacher must decide according to what learning outcomes are desired. In The Treasure of Trivandrum, the focus question was, “Who does the treasure belong to, and how would it best be used?” Forum Theatre – This technique of participatory theatre was made popular by the Brazilian founder of Theatre of the Oppressed, Augusto Boal. Forum theatre involves a group of actors creating a scene that depicts oppression of some kind. The actors enact the scene several times to an audience, some of whom are invited to stop the scene at any point and then intervene as “spect-actors” by stepping into the role of the oppressed protagonist. The intervener tries to lessen or overcome the oppression by acting differently. If the intervention is far-fetched or the spect-actor behaves out of character, the audience is encouraged to shout “Magic!” and the scene starts again from where it was interrupted. Because of its simplicity and its capacity to spark lively discussion, this technique (or variants of it) is often used in the classroom. Framing – The teacher (like any playwright) has to choose what part of the story or what story line is concentrated on to answer the focus question. This decision is known as framing. Framing provides the perspective through which the context or story is explored; this context is known as distancing. In the case of this pre-text, the teachers started “inside” the dramatic event with the opening of the treasure chamber, but then set most of the drama “on the edge”, enrolling the children and teacher as local Indian television journalists investigating and reporting on the findings and their implications. Freeze – The word is used for a temporary stop in a drama. The teacher can “freeze” the action in order to add some instruction or negotiate with the participants, or to give the participants the opportunity to find out what is happening all round the room. Freeze-frame (or Tableau) – This is a moment from a drama that has been created or frozen so that it can be examined closely. A freeze-frame allows the group or sub-groups to create a physical image to illustrate a particularly important moment in the drama that the class can look at, compare, and discuss. A brief time jump is a way of extending this to show what was happening thirty seconds before, and thirty seconds after. In Lesson 1, the first activity following the treasure hunt was to create a freeze-frame (a “news photograph”) of the opening of the temple. Frozen effigy (sometimes called Living picture) – This useful technique starts with a prepared freeze-frame, which is slowly brought to life in stages, allowing the other participants to reflect on and interrogate the details as they slowly emerge. This technique was used twice, in Lessons 3 and 5, to explore the realities of child labour and to demonstrate what might have been inside the temple’s mysterious “Chamber B”. Games – Games and other forms of warm-up (see Warm-ups) can be useful to get the students into the right frame of mind or energy for drama, but they are not drama, and they are not essential for a process drama. If a game is used, it should be thematically linked to the subject of the drama to provide a segue into the dramatic context. In an earlier version of this drama, the teachers played two treasure-seeking detective games. Though popular with the students, games can waste a considerable amount of time and, if overused, can eventually encourage students to feel that drama is trivial and merely about “just playing games”. Like props and costumes, games can be distracting. Headlines playbuilding technique – This way of starting drama, or playbuilding, with older children quickly evolves from a general idea into a concrete and dramatic situation through the following stages. 1. Choose a topic with a problem or social issue involved. This involves breaking the class into groups of about 6–8 and asking them to identify an incident that encapsulates the topic, and a single moment from the incident that would be newsworthy. Ask the students to write the first paragraph and headline of a newspaper report of the incident and create the action photograph of the moment, as a freeze-frame (see Freeze-frame (or Tableau)). Be sure to stress that they should not over-think or “flesh out” the incident too much. All actors should be in the “photograph” except for one, who will be the reader/scribe. 2. Work with each group in turn. Ask the group to assume the freeze-frame and be ready to hold it for a long time. Ask the scribe to read the headline and paragraph, while the audience looks at the “photograph”. Introducing thought-tracking (see Thought-tracking (or Tapping in)) at this point can enrich the experience. Then lead the audience in posing all of the questions that this story and photograph encourage them to ask about the situation. Don’t be afraid to ask the obvious, such as Why was he lying to her?, or What happened next?, and then probe the students to ask more significant questions, such as, What would he go home that night and tell his family?, or Why might somebody be driven to behave so badly?. However, do not let the performing group answer any of the questions, as this will close some useful doors. 3. Give all groups the opportunity to be performers and interrogating audience. Ask students to sit down with their list of questions, each of which could start a play in itself, and choose just one (or at most, two linked questions) that they are all interested in. Then ask the students to identify one character who, if we look more closely at that character, might begin to shed light on that question. Then ask students to identify a scene that incorporates that character, away from the incident, that might shed some light on the question. The character does not have to be one who was featured directly in the first story or freeze-frame. As a result, you have established your Five Ws, your hook, and your focus question! Hot-seat – This is where players have a need to question or interrogate a character, to find out information, to discover why the character behaved in a certain way, or to offer the character advice. This is a good opportunity for the teacher-in-role, or one of the characters being played by a group member, to be hot-seated. You might combine hot-seating with multiple roles. If you intend to have a scene where a character is hot-seated, make sure the characters asking the questions have a good reason for asking them, a real need to know something, or a desire to help. Improvisation (improvised drama) – This is the term used for all drama work where the players do not use a script or a given scenario, but make up the words and/or action. It includes most forms of role-play, rehearsal exercises, many theatrical conventions, and exercises, theatresports (see Theatresports), some kinds of stand-up comedy, and performance storytelling. Many scripted plays and genres such as forum theatre (see Forum Theatre) start off as improvisation, where some genres are scripted to incorporate spaces for improvisation, as most famously in the Italian Commedia Dell’Arte. In-role – This means that the players are acting as characters in the drama, not as themselves. Mantle of the expert – This technique is central to process drama and involves enrolling the students in roles that demand real expertise (such as scientists, explorers, or in this drama, top investigative reporters), and modelling the rudiments of that expertise. Master dramatists – Children’s play researcher Barbara Creaser[i] coined this phrase to describe those children who have an instinctively higher and more sophisticated ability to manage and control the elements of dramatic play than other children. Mime (and occupational mime) – Commonly, this word is used for theatre with no words. However, it is derived from the Greek word mimesis meaning “representation”. Today, mime is used more loosely to refer to using or gesturing with pretend objects rather than real ones, and words may still be involved. When children use make believe to complete a task, such as chopping a tree down, driving a car, or buying from a shop, this is known as occupational mime. Practice in physical precision helps develop skills and build belief. Mirrors – In this famous acting exercise, the class is split into pairs, A and B, and face each other, with room to move between pairs. Starting very slowly, A makes a movement that B must copy exactly, and as close to simultaneously as possible. This is a concentration exercise, and needs to be taken seriously, with the emphasis on exact accuracy and detail, not on competition, nor on tricking the partner or making funny movements. It is meant to be a true mirror image. Motivation – This word refers to what drives the characters in the drama. Multi-media performance – This refers to theatrical performance that uses live performance in combination with technological media. These usually include all or some of the following: lighting effects (LFX) and sound effects (SFX) if used beyond functional illumination and amplification; slide projections; computer-generated and projected images; and special effects, such as pyrotechnics or laser beams. If you are embarking on production in schools, tread warily, as multi-media can be enormously extravagant with time and financial resources. Electronic effects are not always reliable, especially on cheap equipment, and live action needs special care in integrating multi-media effects, as the effects can very easily detract from the action. Multiple role – This very valuable convention places all of the students, or a group of them, in the same role at the same time, where several students playing witness to an event all have to answer questions as that person. This is also a valuable technique to use in combination with “hot-seat” (see Hot-seat), so that all of the students have the opportunity to be jointly enrolled in the drama as, for example, a social worker or journalist. The students must sustain consistency with each other in order to gather the important information. Together, they can be usefully combined with small-group role-play, where the key characters in a conflict scene are simultaneously interviewed by an investigator, which is played by the group as a whole using multiple role. Multiple role circle - This variant of the above (see Multiple role) is used as a starter to provide a pre-text for a drama. All students stand in a circle, and the teacher or questioner interrogates them one at a time as the same fictional character to establish a dramatic situation. The only rule is that the answers must always be consistent with and not undermine or contradict what has already been established. Narrative (Plot/story) – Narrative in drama is very different from narrative in a storybook or telling a story. Dramatic narrative works by exploring in depth a series of key moments from a story and explores them in terms of their symbolic meaning, the motivations of the characters involved, and the dramatic tension they generate. We are not primarily interested in the sequence of events, or how the story will conclude (even though this is a secondary factor). The organisation of the story in order to create this sequence of key moments or “scenes” is called a plot. Performance enactment - After the students have role-played a scene as in real life, it can occasionally be useful to ask groups to demonstrate to the whole class what happened in their role-play. An effective, quick way is to ask them to enact twenty seconds of the scene to capture the essence of their play. Playmaking (or playbuilding) – This important part of drama education is the creation of a group-devised play for performance, usually by the whole class. Process drama makes an excellent basis for playmaking. However, a process drama cannot be re-enacted on stage as work has still to be done cutting, shaping, and editing so that what is real and powerful for the participants becomes meaningful and powerful to an audience who has not had time to become invested. Playwright (dramatist) – Traditionally, the playwright is the artist who writes a playscript to be produced and performed. However, the playwright function is one that the teacher (often) and the students (sometimes) need to assume in process drama. When a group is deciding the outcome of a situation, either by discussion or through role-play, they are being playwrights who are engaged in developing both the narrative and the characters, as well as exploring the themes. You will soon identify the “super-dramatists” in your classes who seem to know instinctively how to shape dramatic action for maximum power and dramatic tension. Postcards – In this well-known “starter exercise”, the class stands in a circle and the leader announces a subject for a three-dimensional picture postcard. One by one, the participants step into the circle and take up a position in the picture, as a person or an object, announcing what the object is as he or she steps into the picture. As the space fills up, the remaining participants must try and make the postcard as visually interesting and aesthetically pleasing as possible. In doing so, students are made to consider the use of space, height and levels, physical position and posture, as well as whatever stories are emerging in the space. Process Drama – What this ArtsPOP is about! It is a drama with no outside audience, and the participants use a range of types of role-play mixed with theatre techniques to enact, explore, and represent a dramatic situation or story. The central method is usually experiential role-play (see Role-play (experiential)). Producer – In a major theatre or film production, the Producer is the person in charge of the overall project, getting it started, and overseeing the budget. If the project is big enough to have more than one producer, the boss is known as the Executive Producer. Production Manager – In a major theatre production, the Production Manager ensures that all of the technical and administrative aspects (such as lighting, sound, design, set-building, front-of-house, bookings, and publicity) are functioning properly. Props (or, strictly, properties) – These are real-life (that is, not mimed) objects that characters use in a drama (see Costume). Protagonist – This term derived from classical Greek tragedy refers to the central character in a drama that has the power of action and decision. In a drama based on two-way conflict, the protagonist’s opposite is known as the antagonist. Puppets – These are immensely valuable and immensely varied in classroom drama. They allow children to project their thoughts and feelings onto “another” in order to articulate them. Puppets can also provide size, tangibility, mystery, and humour to the drama. Puppet genres include shadow puppets, giant puppets, finger puppets, rod puppets, marionettes, and latex puppets, all of which give children lots of imaginative models to work from. Ritual – This is a very important component of drama, especially in classrooms. Ritual provides opportunities for students to build belief and commit themselves to the drama. The teacher made sure that stepping into the role of India TV reporters was performed seriously each time and in a proper sequence: that is, ritually. Ritual may also provide opportunities for theatre, as with the ceremony in this drama, and can be used to make the most of significant moments, such as swearing an oath of allegiance, holding a procession, or making magical potions. Role-circle – This is a convention where the whole group assumes different roles as somebody connected with the dramatic situation, and who knows a bit about it, such as neighbours, family, friends, local tradespeople, and workmates. A teacher asks the questions, but does not lead the answers. The rules about consistency are the same as for multiple role (see Multiple Role). This is a good technique to use at the beginning of a drama to give all members of the group the chance to have input in the situation. Role-on-the-wall[ii] – This is a technique for developing and backgrounding a character by pinning a life-size paper representation of the character on the wall or floor and inviting the participants to write words or longer comments on the image to help to define the character. Role-play (experiential) – This form of role-play is not for performance, but for participants to identify and empathise with the characters in their dramatic context. In experiential role-play, the participants step into the shoes of other individuals and live out moments of the story, physically and emotionally. It is completely unscripted, but a particular purpose and limits are usually established. In this drama, the students used experiential role-play throughout as India TV reporters, and also when asked to change roles to become the interviewees. Role-play (performance or shared) – This is where a pair or a group of students is asked to play out their situation in front of the rest of the class, who are given the task of observing and monitoring, and it can be for assessment. Though probably the most common form of role-play in adult training programs, this is less useful in primary drama for several reasons: - it is difficult for inexperienced actors to concentrate simultaneously on experiencing a situation and showing it to others - the audience is mostly passive - some students find this level of formalised performance, without the support of prepared outcomes, quite threatening and exposing, and find it difficult to role-play whole-heartedly - some cannot resist the temptation to show off to an audience. It can be useful, however, if a group in a simultaneous role-play, for example, has come to an unusual conclusion, or created a particularly powerful scene, and is then asked to show the whole class for discussion purposes. Role-play (simultaneous pairs or small-group) - For a family scene or an argument between two people, it is possible to include the whole class by having the students improvise at the same time in small groups. The leader must make sure each group is clearly separate from each other; they have enough personal background to play the characters; they feel that they can believe in the characters; they are clear about the beginning of the scene, and in general terms what will happen. Role-play (twilight or shadowy role) – This refers to a position “on the edge” of a drama, an unspecified role. The teacher may take shadowy role in first-person narration: “So we journeyed on…”, or the participants may use the shadowy role of unspecified “voices” when interrogating a character in the “hot-seat” (see Hot-seat). Role-play (whole class) – This important role-play structure is often used throughout a drama, as it was in this drama with the India TV studio. It needs to be set up carefully, with all participants knowing what their part in the scene will be. Role reversal – This technique involves stopping or freezing a role-play, particularly a situation of conflict or involving polarised points of view, and asking the participants to take the opposite role. This can be achieved effectively with pairs role-playing, in contexts where the class is split into two opposing groups, and in contexts where the whole class has been working together against a common enemy. If the students are empathising strongly with their original roles, they will need some re-enrolment help to re-focus and build belief in the new position. Scene – Any drama consists of key moments from a story that are fitted together to form a plot. The plot comprises a number of scenes, or moments, that are separated in place or time, or perhaps differ in dramatic convention or style from each other. This also applies to process drama as much it does to theatrical performance (see Narrative). Soundscape – This is a series of sound effects that creates a picture in sound of a particular location or dramatic context. This can incorporate percussion instruments, music, or vocalised noises, even words. Soundscapes may be used as a background, and the effects may be symbolic and atmospheric rather than literal. In this drama, the Indian music provided the score for the dance as well as an appropriate atmosphere. Stage Manager – In a theatrical production, the Stage Manager (and Assistants, or “ASMs”) is responsible for the stage itself, and ensuring that the technical and logistical elements of a production are functional and operate as they should, which may include overseeing constructing and installing the set. The stage manager has two other important connected responsibilities: a.) Managing the rehearsals so that the director can concentrate on the actors and the aesthetic elements (and can include taking notes for the director on the movement and blocking) b.) “Calling the show”, which is giving the exact cues for the sound and lighting, the special effects, and most importantly, the actors’ entrances. Status – This is a key component of relationships within and outside the drama. Drama gives the participants the opportunity to understand, and experiment with, status within the dramatic context. It also helps to suspend the real status relationships in the classroom. Symbols – Drama in itself is a kind of symbolic re-enactment of real life. However, within every drama there are opportunities for investing moments, words, gestures, or objects with symbolic significance, beyond those things themselves, that leads to deep meaning and understanding. A handkerchief is not very grand or meaningful and it may initially take on an “iconic” symbolic value when it is tied to a stick and made out to be a flag. However, when it is captured in battle and flown defiantly by “the enemy”, re-capturing it becomes a symbolic deed that will restore a nation’s freedom and pride, thereby transforming the handkerchief into something of a holy object. In this drama, the India TV identity cards and notebooks were an important symbol to help the students stay in their roles and take the scenes seriously. Tableau vivant – This is a series of tableaux (see Freeze-frame) representing actions over time that are animated in some way. The simplest way to achieve this is by the audience closing their eyes between each presented tableau. Talk chair – The talk chair is an agreed space designated for the students and teacher to meet out of role and reflect on the drama that they have been involved in, to discuss the next stage, or to get together to replan if the current arrangements are not working. It is good practice to start and finish every session with the talk chair. Some teachers prefer to organise the students and themselves to sit in a circle, which is often done in secondary drama classes. Tapping in – See Thought-tracking. Teacher-in-role – You can and should take part in the drama yourself, as this will help the students to take the drama seriously; teacher-in-role gives you the opportunity to help control what happens without stopping the drama; and it gives you an unparalleled opportunity to suspend the power and status relationships in the classroom (See accompanying support document: Guide to Teacher-in-role). Teacher narration – In order to introduce a scene, or a time jump, you can tell a story while the group listens, perhaps describing what happened between the last scene and the one you want them to play next. It helps for the teacher to tell the story as spell-bindingly as possible, perhaps with the children closing their eyes or lying on the floor relaxing. Teacher narration can link freeze-frames or improvised action. Tempo and Timing – The tempo of drama describes the overall rhythm and pace of a drama. Teachers need to vary the tempo according to the demands of the story and to keep the students engaged and absorbed. Timing refers to the precise use of time from one moment to another. The timing of teachers’ intervention as teacher-in-role, for instance, needs careful consideration. Tension – Dramatic tension is essential to keeping any audience engaged in a drama, and process drama is no exception. Tension is the spring that drives the drama and is derived from the answer to the fifth “W” (see Five Ws). First and foremost, the students need “tension of the task”, where in their roles they have a task that is urgent, purposeful, and that will achieve the characters’ aims. Tension may also be provided by conflict, dilemma, mystery, suspense, or surprise. Theatre (Theatricality) – This term not only describes the physical building, but the kinds of drama that are based on performance to an audience. Something is theatrical to the extent that the actors, director, etc., concentrate on giving the audience a powerful experience. Theatre-in-education (TIE) – This phrase, coined in England, is used to refer to plays and other dramatic experiences performed in schools, normally by visiting adults with a specific educational objective, and with elements of active participation by the audience. Theatresports – This is a very lively performance convention entirely based on competitive improvisation, originated by Keith Johnstone. Theatresports consists of competitions mainly based on rehearsal exercises. They are a lot of fun and are very useful for developing quick thinking and confidence, as they require participants to take performance risks in public. They should not be over-used (which may be a temptation, as they are so enjoyable), because they can lead to a superficial approach to drama work and they offer limited learning potential, particularly for curricular learning. Thought-tracking (or Tapping in) – This is a dramatic convention where characters playing roles can be frozen and asked by the teacher or other students (who tap the character on the shoulder to activate the image) to express what is going through their mind at a particular moment in the present or in the future. This technique can be combined with freeze-frames, done in a circle, or used within forum theatre. Time jump – Between scenes you can time jump, taking the characters backwards to explore how this situation arose, or you can jump the action forwards, perhaps hours or days, to imagine the long-term consequences. In Lesson 5 of this unit, a time jump of five years was used to help the students to reflect within the drama on the implications of their decisions. Warm-ups – These are like games (and often consist of games), and optional to process drama. The purpose of a warm-up is to focus the participants on the drama lesson and subject matter, and to generate an appropriate energy level. Thus, in some circumstances, warm-ups should be called a “cool-down” if the students have come into the lesson excited or unruly. For this reason, it is not always a good idea to pre-plan a warm-up, although it is useful to have a stock of exercises and games to call on when needed. Young People’s Theatre (YPT) or Theatre for Young Audiences (TYA) and occasionally, Children’s Theatre – All these phrase denotes the whole range of theatre that is performed with young people in mind, not necessarily with a specific educational context or objective. The phrases are sometimes used interchangeably with theatre-in-education (TIE; see Theatre-in-education), and confusingly, with Youth Theatre (see Youth Theatre), which is an entirely different concept. Youth Theatre – This is usually defined as plays and performances that are created and/or performed by young people themselves. 1Creaser, B. (1989). An examination of the four-year-old master dramatist. International Journal of Early Childhood Education, 21, 55-68. 2This technique was named by UK drama educator Jonothan Neelands, (1990). Structuring drama work. Cambridge: Cambridge University Press.

<urn:uuid:449afb7f-5d21-4cbe-9a39-4187ea179886>

CC-MAIN-2019-18

http://artspop.org.au/drama-drama_glossary/

s3://commoncrawl/crawl-data/CC-MAIN-2019-18/segments/1555578656640.56/warc/CC-MAIN-20190424194348-20190424220348-00336.warc.gz

en

Hurston, Zora Neale The oral tradition of southern black folklore was an art and a skill handed down from Africa, preserved through slavery, and still thriving in the early years of the twentieth century, when Zora Neale Hurston came of age. The tradition was preserved through generations of rural southern culture and began to decline when the black workers left the agricultural South for the cities of the North. Zora Neale Hurston was singularly placed to record this material as folklore and to transform it to art through fiction. Zora Hurston's place and date of birth are obscured by the selective secrecy and mythology that veiled her personal life. Hurston wanted her contemporaries to believe that she was born 7 January 1901 in Eatonville, Florida. Birth records revealed years later, however, that she was born in 1891 in Notasulga, Alabama. Early Life in Eatonville The circumstances of her early life and family and the influence of growing up in Eatonville, Florida, are of primary importance in understanding Zora Neale Hurston's life and works. Hurston's father, John Hurston, had been conceived in slavery in Alabama, the son of the master and a slave. He moved with his strong-minded, intelligent wife, Lucie Potts, and seven children to the remarkable town of Eatonville, a tiny township in central Florida—organized, incorporated, and governed by black people—where he was a successful carpenter and Baptist preacher. Zora Hurston's youth as the intelligent daughter of respected Eatonville citizens was conducive to her self-esteem and her feeling of safety, free from the sense of second-class citizenship common in southern black life. Her circumstances also led to an inborn appreciation for the richness of southern black culture. Eatonville was a melting pot of black Americans from all over the South. The people there were a bottomless source of stories. The young Zora's eyes and ears were open to the rich life of the community around her. She later wrote, “From the earliest rocking of my cradle, I had known about the capers Brer Rabbit is apt to cut and what the Squinch Owl says from the house top.” The porch of Joe Clarke's general store was the scene of “lying contests,” stories, songs, jokes, folklore. With this porch Hurston created a powerful image, an icon, throughout her work. It appears in her novels, her drama, and her folklore as well as her autobiography. This safe and comfortable childhood ended abruptly with the death of her mother. Hurston wrote the moving deathbed scene in her autobiography, Dust Tracks on a Road (1942), and her autobiographical novel Jonah's Gourd Vine (1934). Hurston's father remarried in haste, but his new wife did not want his children and the siblings dispersed to relatives and boarding schools. The young Hurston made her own way as a black woman in the world of the American South, working as a maid or nanny when she could. These times were the ten lost years that she never mentioned, that she erased from her story. No doubt these were the years when she learned the traits of survival and self-sufficiency. She emerged as a ladies' maid and helper with a touring Gilbert and Sullivan troupe. Hurston was able to return to school in Baltimore in 1917, attending Morgan Academy and graduating in 1918. An eager student, she went on to Howard University in Washington, D.C., always working her way through school with odd jobs. Hurston blossomed at Howard and published her first short story in the college literary magazine, Stylus, in 1921. In 1924 Hurston published her short story Drenched in Light in Opportunity magazine. Drenched in Light is thinly disguised autobiography, a story about a joyful child in Eatonville. The message is that the young protagonist is poor and black but “drenched in the light” of family, community, and culture. The story is a statement of affirmation, written by a woman who has pondered her identity and origins. The Harlem Renaissance The following year Hurston submitted a story, Spunk, and a play, Color Struck, to Opportunity's literary contest. Both won prizes. The Opportunity awards dinner, a showcase for young black talent attended by literary New York, was Hurston's entrée to the Harlem Renaissance. The vibrant, confident young woman with the unusual background and stories was noticed. Annie Nathan Meyer, a founder of Barnard College, obtained a scholarship for Hurston. Fannie Hurst, a popular writer, gave her a job as secretary and companion. Hurston continued to write and publish short stories and plays, with Eatonville as her subject. Critic and biographer Robert E. Hemenway (1977) characterizes some of the work of this period as hackneyed, all theme with little plot. Yet the Eatonville material was compelling, matchless in its place in history and culture, and Hurston had an eye and ear for her subject along with a conviction of the importance of her message. She had not, however, yet found her genre or her voice. She was still struggling with her craft and her perspective. The Harlem Renaissance was a period of a fertile flowering of black art, music, and voice in the 1920s and 1930s. Zora Neale Hurston was a presence in the Harlem Renaissance, meeting everyone, being noticed, becoming a full-fledged member of the “niggerati,” as she called the black literary community. In 1926 she organized the short-lived radical journal Fire!! with Langston Hughes and Wallace Thurman. Hurston found herself in the role of proletarian in New York City as she found the Harlem Renaissance largely a movement of northern-raised, middle-class black artists who were a generation removed from the source of their material. These were black artists who had absorbed a mainstream conception of high art; who took material with black origins and formalized it—for example turning the spirituals of the southern Baptist churches into composed and arranged songs to be performed for white audiences in concert halls. The goal of those presenting the “New Negro” and his art was to prove that black art and culture were equal to white art. Hurston, however, was the genuine article, the folk, and her mission was to present and preserve the folk voice as she knew it from her youth in the South. Further, Hurston had a sense that the folk material that she loved was not a lower form of art but an oral tradition that had enabled the black people to survive with dignity and strength. Her goal was to glorify and preserve a form of black expression that she felt was being diluted by urbanization. “The Spyglass of Anthropology” At Barnard College, Hurston studied anthropology under Franz Boas, a noted authority in the field. She found that anthropology offered a scientific framework for her folklore. She had not found a voice for the Eatonville material in the short story genre; anthropology gave her the form she was searching for. In the introduction to Mules and Men (1935), Hurston wrote that she had to have “the spyglass of anthropology” to begin to codify her experience in Eatonville. Anthropology gave her the opportunity to look at her community culture and folktales with the objectivity of a social scientist; the step back from her personal experience helped to reconcile her to her past. Soon Hurston was doing fieldwork for Boas in Harlem. Then, in February 1927 she was given a grant to collect folklore in Florida. Previously, some black folklore had been collected by white researchers, but their findings were often influenced by stereotypes and misconceptions of the black personality and experience. Hurston was unique: a black scholar and social scientist with a deep understanding of the culture she would study. This first folklore-collecting trip was not very successful. She wrote later that people were suspicious of her Barnard manner and told her only what they wanted her to hear. She returned to Boas and admitted her disappointing results. Wise Boas was not surprised. Perhaps the cocky, confident Zora needed to learn from a failure. In the fall of 1927 Hurston met Mrs. Rufus Osgood Mason, a wealthy white woman who was to play a major role in her life. Mrs. Mason was patron to several black artists, including Langston Hughes. At the behest of her eccentric whim, her protégées called her “Godmother.” Hurston signed a contract with Mrs. Mason that enabled her to go back to the South on another collecting trip. Mrs. Mason gave her a car and $200 a month and in December 1927 Hurston departed again, intending to begin in Mobile, Alabama, travel to Florida, and end up in New Orleans, Louisiana, to gather and record tales, songs, games, customs, and voodoo rituals of rural southern black Americans. Hurston had learned from her first expedition. She would need the patience and imagination to live as a part of the community, not as an outsider, a northern-educated scientist. In Polk County, Florida, she created the fiction that she was a bootlegger's girlfriend running from the law. She was welcomed into the lumber and railroad work camps, where she kept her ears open and took notes. Her Florida work ended when she was nearly knifed at a “jook joint” by a woman jealous of Zora's attention from the men. She went on to New Orleans to collect voodoo practices and rituals, becoming an initiate under several practitioners. That year spent collecting in the South under Mrs. Mason's patronage was pivotal for Hurston. The financial support was liberating. Her collecting was so fertile that she drew on the material from this trip for the rest of her life. Hurston matured. She began to see the stories and customs of her childhood and her culture as part of a pattern of black experience and survival and to fit her own life as a survivor into the pattern. On the surface she was a scientist working on a folklore-collecting expedition, but underneath she was becoming a novelist who could connect the collective stories with individual experience in an expression of art. Hurston spent much of 1929 living on Mrs. Mason's money and organizing her field notes. Living in South Florida, Hurston met West Africans and became interested in their customs, folklore, and dancing. She began to make links between African-American and African-Caribbean folklore. She spent some time in Nassau in the Bahamas in 1929 and 1930, living again within the community, learning and collecting songs, dances, and customs. Hurston was beginning to chafe at the restrictions of her contract with Mrs. Mason. She had the Florida and New Orleans material organized and ready for publication. She wanted to work on some new, independent projects, while Mrs. Mason contended that the contract was not fulfilled until the folklore material was published. Unfortunately, Mrs. Mason held the title to the material and Hurston was prohibited by the contract from publishing anything without Mrs. Mason's approval, so if Hurston wanted to see her book in print, she had to submit to Mrs. Mason's terms. Hurston spent nearly two years organizing her vast notes and material. She published Hoodoo in America in the Journal of American Folklore in 1931 and looked for a book publisher for a scholarly presentation of her findings. Both Hurston and Langston Hughes were living in New Jersey in a sort of artists' colony where Mrs. Mason put up her protégées. Hurston and Hughes began to collaborate on a play, Mule Bone, a series of skits and songs based largely on the folklore that Hurston had collected in Eatonville. The first act takes place on the porch of Joe Clarke's store. Hurston envisioned a form of theater that would present authentic material in an aural context, in an exuberant and accessible manner. The Mule Bone project and her relationship with Langston Hughes fell apart in a bitter misunderstanding that was worsened by tensions relating to Mrs. Mason's patronage. Hughes left the Mason payroll, feeling increasingly guilty about enjoying caviar in her home while writing about the blues of his people. Hurston needed Mrs. Mason's patronage for a while longer, until she found a publisher for her collection. Hughes and Hurston became estranged; then Hughes discovered that the play was in negotiation with a theater company, to be produced with Hurston as sole author. He filed suit. It turned out that their mutual friend Carl Van Vechten had sent a draft of the play to the theater without Hurston's knowledge, but the damage was done and the play was never produced. The Great Day Hurston's relationship with Mrs. Mason was finally severed in March 1931 while Hurston was still searching for a publisher for her folklore collection. She found herself with a need to earn a living. She also found herself with a growing conviction that her stories and songs could be better presented in some living form than in a scientific journal. She envisioned a revue that would be artistically true to the folk tradition, including comedy, songs, and dances. Hurston wrote and staged the theatrical revue The Great Day (1932), using her collected folk material and including authentic Jamaican dancers and drummers. The revue was structured around a day in a railroad work camp, ending with an evening at the “jook.” Produced on a shoestring with Hurston ingenuity, the performance in January 1932 was an artistic success. She was to use the same material for several years, repeating the New York City performance. Hurston also created a new version at Rollins College in Winter Park, Florida, and took that show on the road. She still had no publisher for her folklore collection and so earned her living by this theatrical expression of her material and experience. Hurston tried her hand at various academic jobs in the South, working on her conception of authentic theater in college drama departments. Hurston the scholar, with her Barnard credentials, and Hurston the exuberant voice of Eatonville, with her theatrical successes, sought to present an authentic and traditional form of expression. Her goal was to bring legitimate folklore to theater and concert audiences. Segregated Florida in the Great Depression was not a fertile ground for black theater production, nor was Hurston's vocation in academe. She was later awarded a fellowship to work on a Ph.D. in anthropology at Columbia starting in 1935, but by that time her focus was on a new form of expression for her experience. Jonah's Gourd Vine Hurston turned to fiction in hopes of producing income and finding a medium for her Eatonville voice. She published The Gilded Six-Bits in Story magazine in August 1933. This is a mature story, set in Eatonville, and was the catalyst in attracting the publisher that she needed. The Philadelphia publisher J. B. Lippincott noticed the story and asked her for a novel. She rented a cabin in Eatonville and sat down and wrote Jonah's Gourd Vine (1934). This, Hurston's first novel, is a blend of autobiography, folklore, and fiction. The book succeeds because the voice of Eatonville pours from her pen. The story is authentic, based on the life of her father, the Baptist preacher born into slavery. John Pearson rises with determination, the help of his strong wife Lucie, and his gift for poetry. But John has a fatal flaw; he is a philanderer. After his wife dies, in a deathbed scene based on the death of Hurston's mother, John—filled with guilt but bewitched by his lover with the help of a hoodoo man—remarries in haste and eventually is cast out by his congregation. The use of the collected folklore is central to the novel, which describes customs, food, celebrations, and the telling of “lies” on the porch of the general store and is written in the black vernacular. John's farewell sermon, a triumph of language and poetry, is quoted directly from a sermon Hurston collected while in Florida. If sometimes the transitions are flawed, if the reader is brought too abruptly from the folklore material to the fictional plot, Hurston nevertheless has the gift of knowing where to leave autobiography behind and move into the realm of fiction. From the suggestion of hoodoo in John's hasty remarriage to his failed redemption, Hurston departs from life and finishes the fictional tale. Jonah's Gourd Vine was written in a fresh and knowledgeable voice, with an ear for dialect and using material and a setting that Hurston was uniquely placed to present. Language is at the heart of the novel, as it was at the heart of all of Hurston's subsequent writing. Her authentic and original use of the black idiom, a language rich with proverbs, wordplay, imagery, and metaphor, is a solid achievement. John Pearson is aware of the power of language; his gift for language raises him from laborer to leader. Most important, language, especially black language, is honored in Jonah's Gourd Vine. John's poetry rises from a culture that values skill and improvisation in oral art, from the store porch and from the pulpit. Mules and Men Pleased with Jonah's Gourd Vine, Lippincott agreed to publish Hurston's folklore collection, which became Mules and Men. Lippincott wanted the anthropology material popularized for the average reader. Hurston devised a form, a story within a story, in which she puts the folklore into context, creating a first-person role for herself as narrator and collector as well as the third-person role of social scientist and observer. Hurston found a voice when she put herself as a character in her report. She created herself, the semifictitious narrator. Her introduction to Mules and Men is a statement of her method and identity, uniting her own past in Eatonville with the curious researcher. Hurston was criticized by the scholarly community for putting too much of her own personality into a scientific report. She was apprehensive of how her mentor, Franz Boas, would react to the form, but he agreed to write the preface and presented his protégée as a collector who was able to penetrate the true inner life of her subjects. Hurston was sometimes accused of being less than scrupulous in her writing and collecting. She was as much an interpreter of the folklore she collected as an objective scientist. The line between fact and fiction was not always sharply drawn. Perhaps she embellished. Perhaps some of the tales are stories that she herself contributed to the lying sessions on the porch of the village store. Shortly after Mules and Men was published, Hurston was awarded a Guggenheim Fellowship to go to Jamaica and Haiti to collect material on religious practices. She spent much of 1936 and 1937 on those islands. Hurston's personal life was always complicated; she revealed as little as possible in her writing. She was married at least twice, and possibly another time during the lost ten years in her early life, those years whose existence she denied by changing her birthdate. There is, however, a chapter titled “Love” in her autobiography, Dust Tracks on a Road (1942). One of her marriages was to Herbert Sheen, her sweetheart throughout the Howard and Barnard years. The marriage itself was brief; the conflict between marriage and career may have been the reason for its failure. The turmoil surrounding the marriage may have contributed to the failure of her first collecting expedition in early 1927. Their Eyes were Watching God The trip to the West Indies in 1936 and 1937 occurred at the time of another breakup, this time of an affair between Hurston and a man twenty years younger than herself. This man, she said in Dust Tracks, asked her to marry him and give up her career, “that one thing I could not do.” Thus, it is no coincidence that the book she wrote in exile from this affair was the story of a woman who is determined to find her own identity on her own terms, and a story of a love affair between a vibrant older woman and a younger man. Their Eyes Were Watching God (1937) is Hurston's masterpiece, an elegant short novel about a young woman's search for self, for love, for freedom. The novel has the familiar autobiographical elements: a parent born in slavery, Eatonville, the porch of Joe Clarke's store, a hurricane scene drawn from a storm she experienced in the Bahamas in 1929. It draws heavily on folklore and on black history, culture, and language. The heroine is Janie Crawford, a young black woman raised by her grandmother, a former slave. When Janie feels the stirrings of sexual awakening, her grandmother quickly marries her off to an older man who can provide land and security. Once Janie realizes that love will not come to this marriage and that her husband will treat her as another piece of property, a mule to be worked, she runs away with Joe Starks. Joe is an ambitious young man on his way to Eatonville to make something of himself. He becomes the mayor and storekeeper of the town. Joe expects his wife to play the role of “mayor's wife” and to work in the store, but he does not encourage her to join in the storytelling on the store porch or to mingle with the other women in the village. She is an adjunct to Joe's prestige and is not allowed any personal expression or voice. For both of her husbands, upward mobility focuses on ownership and suppression of Janie's own self-awareness. Janie sadly watches Joe become more pompous and demeaning, and this marriage, too, becomes loveless. There is a moment of awakening in each marriage as Janie gradually becomes more self-aware. She walks away from her first husband when she realizes that he wants her to be “de mule uh de world.” Joe Starks represents change and the outside world and Janie is ready to move on. Later, after years with Joe, she understands that she has learned to keep her inner and outer lives separate. “She had an inside and an outside now and suddenly she knew how not to mix them.” This woman's awakening is a universal feminist theme, black or white. Joe Starks dies and Janie is liberated from his oppression. Now a wealthy widow, she meets Tea Cake, an easygoing black man years younger than she. He is a free spirit who loves life, gambles without apology, and awakens laughter and stories in Janie. At last Janie blossoms, finally fulfilling the promise of womanhood that was nipped in the bud when her grandmother married her off to a respectable old man. Janie and Tea Cake leave Eatonville, walking away from disapproving public opinion, and live a joyous life picking beans in the Everglades. The story ends tragically, however. Escaping from a violent hurricane, Tea Cake is bitten by a rabid dog. He succumbs to rabies himself and becomes irrational and violent; ultimately, Janie is forced to shoot him in self-defense. She is acquitted at her trial, and returns to Eatonville to live out her life, happy that she has at last known a true love and joy in life. The novel is pure Hurston, infused throughout with folklore and autobiographical elements. She spans the history of black people in the South from the end of slavery through the 1930s. She writes with a lyrical ease, transforming folk tales into metaphor, rendering dialect with her impeccable ear. Their Eyes Were Watching God is a feminist novel, resonating with a black voice. A woman's freedom lies in discovering her own voice and identity apart from her husband; a people's freedom lies in preserving their own voice and identity apart from the oppressor. With this novel, Hurston achieved a literary expression for her experience. Tell My Horse Tell My Horse: Voodoo and Life in Haiti and Jamaica (1938), is Hurston's report of her collecting experience in those islands. The practice of voodoo was a powerful spiritual experience for Hurston. She treats voodoo as a serious religion, originating in Africa and coexisting with Roman Catholicism. Tell My Horse, like so much of Hurston's work, is written in an original mix of style and genre, travelogue and political commentary mingling with observations on art, dance, practices, and customs that only the now-experienced, mature, and confident Hurston could provide. Typically, she shifts between the first- and third-person voice, using the first person for observation and commentary, the third person to report history and politics. She describes instances of possession, the hierarchy of voodoo gods, and details of ceremonies, information that would only be accessible to an initiate. The book is illustrated with photos, including a remarkable photo (and report) of a zombie in Haiti. After the publication of Their Eyes Were Watching God and Tell My Horse, Hurston returned to Florida. Through 1938 and 1939 she worked in the South, collecting, writing, working on drama projects. There was another short-lived marriage, this time to Albert Price III in 1939. Moses, Man of the Mountain Moses, Man of the Mountain (1939) was published at Hurston's zenith. The novel is complex, a display of virtuosity in character, background, language, themes, and satire, a Hurston blend of Eatonville, Africa, and finding a way into freedom. The basis of the novel lies in the African and voodoo approach to Moses, revered as a man of power who could talk to God face-to-face, and in the identification of American black slaves with the enslaved Jews in the Bible. The novel is set in Egypt and the promised land, but the characters are rural black Americans with the speech and mannerisms of Eatonville. The Jews of the biblical tale are black Americans and Pharaoh and the Egyptians are whites. The voice of Eatonville, as interpreted by Zora Neale Hurston, is humorous and feisty. This was resented by some black leaders and intellectuals, who were beginning to complain that Hurston was too narrowly focused on Eatonville and that she ignored the many negatives of southern black experience. Moses, Man of the Mountain lacks bitterness. Hurston was expected as a black writer to write a protest novel, exposing the racial injustice of the South. She was determined instead to celebrate black culture in literature. Dust Tracks on a Road Having written five books in five years, Hurston was at a crossroads. Her publisher, J. B. Lippincott, suggested she write an autobiography. She moved to California in the spring of 1941, where she worked on the manuscript of Dust Tracks on a Road and as a story consultant at Paramount Studios. Dust Tracks on a Road is a book that mirrors the division that emerged in Hurston's life. The early part of the book, where she describes her background, childhood, and early life is vibrant with stories and scenes and the voice of Eatonville. The reader sees the hopes and dreams of the joyful child whose father, the preacher, showed daily how language could enthrall, whose mother urged her to reach for the stars, and whose ears were tuned to the “lying” on the porch of Joe Clarke's store in Eatonville. The reader experiences that child's helplessness and despair at her mother's deathbed and begins to grasp the tenacity and self-reliance Zora Hurston needed to get an education and reach New York City and professional recognition. Once Hurston reaches the point where she acknowledges her patron—Mrs. Mason, her “godmother”—she begins to lose the vibrancy of Eatonville's stories and her own confident voice. Her tone changes, becomes awkward and ingratiating. Dust Tracks on a Road's vitality seems to be a casualty of her odd patronage relationship. As she brings society and politics into the picture, her voice falters. Reactions were mixed. Whites liked the book; it harmed her reputation with her black peers, however. Indeed, by the mid-1940s Hurston seemed to be losing her voice. A novel and a proposal were rejected by Lippincott, though she was publishing magazine articles and continuing to work on the black college circuit. Politically she grew more conservative; her voice shifted from the self-confident first person of idiomatic black speech to the artificial third person of unpopular political viewpoint. Seraph on the Suwanee In 1947 Hurston signed a contract with Charles Scribner's Sons for a novel about a white southern family. Seraph on the Suwanee (1948) was written in Honduras, on a trip to look for a lost city, financed with the advance money from Scribner's. She had ambitions for Seraph on the Suwanee. She hoped to challenge literary conventions, to prove that a black woman could write about whites. The novel tells the story of a poor white family in Florida that gradually achieves upward mobility and of a woman who struggles with her identity in marriage. The language of the novel is the southern vernacular. Hurston hoped to show that southern blacks and whites had language and cultural influences in common. The early reviews of Seraph on the Suwanee were favorable. Just at the time that Hurston and her publisher would have promoted the new book, however, a bombshell fell. Hurston was accused of sexually molesting a ten-year-old boy. The charges were false. Hurston was able to prove that she was in Honduras at the time the incidents were alleged to have occurred; the boy was shown to be disturbed. But the damage had already been done. A national black newspaper, Baltimore's Afro-American, picked up the story and created a lurid scandal. Hurston was devastated. She considered suicide. She removed herself from the public eye as best she could. Seraph on the Suwanee was to be her last published novel. Hurston did recover from this blow. She moved back to Florida, bought a houseboat, planted a garden. She continued to write magazine articles for a mainstream audience, worked as a maid, did some substitute teaching in Fort Pierce, Florida. Her articles were increasingly conservative in tone and it was difficult to find publishers for her work. Money was a problem. Her health deteriorated. In 1959 she had a stroke and entered the St. Lucie County Welfare Home. She died there on 28 January 1960 and was buried in an unmarked grave. Why did Zora Neale Hurston decline from her standing as a vibrant presence in the Harlem Renaissance, a fertile interpreter of black folklore, and a lyrical writer to become a poor woman buried in an unmarked grave? Part of the answer lies in the struggle for money. The need to make ends meet overcame her art and her scholarship in the end. At the mercy of patrons and publishers, it was always a struggle to collect, to keep writing, to make art. The Eatonville voice that Hurston so loved faltered as she looked for a mass magazine audience. An outsider in the white world of publishing, she was criticized by black leaders and intellectuals as well. Then the scandal of the false sexual accusation broke her spirit. She finally became bitter. Hurston's strength and gift was pride in the folk heritage embodied in her Eatonville experience. This emphasis on culture did not translate well to politics. She was outspoken; she wanted to affirm her belief in the individual, her belief that a black background need not be tragic. Black opinion accused her of ignoring the dark side of life in the American South, giving a whitewashed picture of southern black life. She grew even more conservative after the scandal. She was always an outsider but she had always been exuberant, excited by her work, believing in it. She lost her voice, she retreated to her garden, she was poor, she became ill, she died quietly. Zora Neale Hurston's books were out of print for thirty-five years. Then, in the late 1970s, black writer and scholar Alice Walker wrote an essay, Looking for Zora, and interest in Hurston was revived. In Zora Hurston, black women writers found a rare model, a woman who wrote in the black vernacular, who affirmed black folk culture with pride and exuberance. Zora Neale Hurston left a record of an oral folk tradition that she was uniquely placed to provide. She had a clear, individual, woman's voice, even if she was at times inhibited by her white patron, her publishers, and her need for cash. Her novel Their Eyes Were Watching God has become a classic of African-American feminist literature, yet the theme of a woman finding her voice and equality in marriage is universal. Zora Hurston was at her best when interpreting Eatonville. She was happiest in Florida, and at her worst when struggling for money. She was proud to have “the map of Dixie on her tongue.” The creation of an original black literature based on pride in the language and folk tradition of African Americans was Hurston's lifelong goal and her major contribution. The Great Day (musical) (1932)Find this resource: Jonah's Gourd Vine (1934)Find this resource: Mules and Men (1935)Find this resource: Their Eyes Were Watching God (1937)Find this resource: Tell My Horse: Voodoo and Life in Haiti and Jamaica (1938)Find this resource: Moses, Man of the Mountain (1939)Find this resource: Dust Tracks on a Road (1942)Find this resource: Seraph on the Suwanee (1948)Find this resource: I Love Myself When I Am Laughing…& Then Again When I Am Looking Mean and Impressive: A Zora Neale Hurston Reader (1979)Find this resource: The Sanctified Church (1981)Find this resource: Spunk: The Selected Short Stories of Zora Neale Hurston (1985)Find this resource: Every Tongue Got to Confess: Negro Folk-Tales from the Gulf States (2001)Find this resource: Boyd, Valerie. Wrapped in Rainbows: The Life of Zora Neale Hurston. New York, 2002. Boyd's approach to Hurston's life is journalistic rather than literary. Using carefully researched primary sources as well as Hurston's autobiography as evidence, Boyd enthusiastically presents Hurston's life as a good story of a strong and engaging woman.Find this resource: Gates, Henry Louis, Jr., and K. A. Appiah, eds. Zora Neale Hurston: Critical Perspectives Past and Present. New York, 1993. A collection of reviews by Hurston's contemporaries as well as a fine selection of recent interpretations.Find this resource: Hemenway, Robert E. Zora Neale Hurston: A Literary Biography. Urbana, Ill., and Chicago, 1977. An invaluable and thorough source. Analyzes the major works and details the relationship between Hurston's life, fiction, and nonfiction. Excellent section on the Harlem Renaissance. Insight into Hurston's decline after World War II. References to unpublished sources and interviews.Find this resource: Kaplan, Carla, ed. Zora Neale Hurston: A Life in Letters. New York, 2002. A collection of over five hundred of Hurston's letters, including letters to her patron, Mrs. Osgood Mason.Find this resource: Meisenhelder, Susan Edwards. Hitting a Straight Lick with a Crooked Stick: Race and Gender in the Work of Zora Neale Hurston. Tuscaloosa, Ala., and London, 1999. Discussing the impact of Hurston's role as an outsider, both in race and gender, in a patriarchal white society, Meisenhelder positions her as one example of the complex dilemma facing African-American women writers.Find this resource: Walker, Alice. In Search of Our Mothers' Gardens. San Diego, Calif., and New York, 1984. This collection of essays by the writer influential in the Hurston “renaissance” of the late 1970s contains several essays valuable to an understanding of Hurston's place in the canon of black woman writers. “Looking for Zora” is a classic essay in the literature of Hurston, an account of searching for Hurston's unmarked grave. “Zora Neale Hurston: A Cautionary Tale and a Partisan View” is a reprint of the Alice Walker introduction to the Hemenway biography. “The Black Writer and the Southern Experience” and “Saving the Life That Is Your Own: The Importance of Models in the Artist's Life” are also worthy of note by the student of Hurston.Find this resource:

<urn:uuid:a5169131-0057-45de-a874-94a5cd8c4b81>

CC-MAIN-2019-18

http://oxfordre.com/literature/view/10.1093/acrefore/9780190201098.001.0001/acrefore-9780190201098-e-626

s3://commoncrawl/crawl-data/CC-MAIN-2019-18/segments/1555578530100.28/warc/CC-MAIN-20190421000555-20190421022555-00097.warc.gz

en

Guess what, y’all. That paper I was working on so hard for class turned out awesome. The Virgin’s Coffin: Snow White, the Brothers Grimm, and Appropriation In the tradition of early Christian martyrdom, “virginity could be the equal of any martyr’s death, signalling one of the most persistent themes in female spirituality” (Rubin, 156). All a woman had to do to be considered a martyr was 1- be Christian, 2- be a virgin, and 3- die. Snow white became a martyr when the Brothers Grimm turned her into one. They took fragments of secular and pagan stories passed down through the oral tradition, fused them together with additions of their own invention, and created a seamless narrative of a virgin’s persecution, temptation, death, and resurrection. The story remains so embedded in our cultural consciousness that even two hundred years later we continue to reinvent and reclaim Snow White, taking a passive Christian martyr and re-appropriating her into a secular hero martyr. From the Grimms to Disney to contemporary filmmakers, the way we choose to tell the story of “Snow White” becomes a reflection of our own cultural narrative. 1. The Brothers Grimm The Brothers Grimm did not, of course, invent the story of Snow White nor any of the others in their collection of fairy tales, the Kinder- und Hausmärchen (KHM) or Children’s and Household Tales. Born in 1785 and 1786 respectively, Jacob and Wilhelm were born in the Hesse region of Germany and grew up to study philology, linguistics, law, and folklore. This was a critical time in Germany, which underwent political upheaval in the early nineteenth century with the overthrow of Napoleon’s forces and the struggle for democracy and identity as a new nation-state. This was also the era of the great German thinkers such as Goethe, Schiller, Kant, and Hegel, “that great and formative age for the development of modern German thought, culture, and education: the last four decades of the eighteenth century and the first decade of the nineteenth” (Smith, 126-7). Romanticism was “a middle-class, pan-European reaction against the ideas of the Enlightenment” (Paradiž, 19) which emphasized a revitalization of the spirit of the past, native language and history, and an idealization of the simple Volk (folk). “Native folklore was to be the ‘healing power’ for the nation, a remedy for spiritual recovery and creative strength” (Kamenetsky, 25). This idealism of the past and the purity of the Volk were a crucial aspect of the Grimms’ personal motivation for the decades of work that went into the KHM. “Broadly speaking, the Grimms sought to preserve all kinds of ancient relics as if they were sacred and precious gems that originated naturally from the soil. In their minds, the tales, myths, songs, fables, legends, epics, riddles, and other narratives that emanated from the voices of the common people contained deeper meanings than so-called educated people realized” (Zipes, xix). The Grimms saw their work as not just a cultural but a spiritual duty. The majority of Germans belonged to either the Protestant or Reformed Church, and the culture was steeped in the ideals of Martin Luther. In his book The Owl, the Raven & the Dove: The Religious Meaning of the Grimms’ Magic Fairy Tales, Ronald G. Murphy examines the personal spirituality of the Grimms in great detail. The brothers Grimm thought of fairy tales as remnant of ancient faith expressed in poetry. Through all the revisions of their collections of tales, their preface always begins with a description of gleaning, a biblical image recalling the command that the poor are not to be prevented from gathering the remnants that survive the harvest or the storm, nor the grain that has grown unnoticed by the hedgerow or the roadside… The brothers stated that their book consists of stories which are precious crumbs of ancient faith, gleaned wheat, made into bread, and that they wished to place it only into benevolent hands which have the power to bless, hoping that these “breadcrumbs of poetry” will never come to the attention of those who would withhold them from the poor. (Murphy, 3) The irony here is that the Grimms never actually worked with the Volk in the process of collecting these tales, so any representative voice of the poor is absent in their work. The poor are supposed to be the ones gleaning the forgotten wheat, but the brothers took that responsibility upon themselves, middle-class and educated young men, trying represent the interests of a population to which they did not belong and which they did not include. Even more popular than the myth of the Grimms as the original authors of the tales “is the long-standing myth of the brothers’ travels through the countryside, village to village, transcribing stories told to them by farmers and peasants,” writes Valerie Paradiž. Jacob and Wilhelm are themselves responsible, at least in part, for perpetuating that image. Though they never directly claimed to have worked in this fashion, they unwittingly created a romantic conceit about their process by hiding the identities of their most crucial collaborators … These contributors were neither commoners nor peasants … they were educated ladies. (xi) The Grimms started by writing down the stories they remembered from their own childhoods, then proceeded to collect stories from their family and friends, mainly the ladies of the Wild and Hassenpflug families. Storytelling was not only a common pastime for these women, but a crucial tool for exploring their place in the world. Folktales told of rites of passage, showed the types of villains one might encounter, and warned what would happen to those who transgress against the rules. “Indeed, many of the Grimms’ fairy tales dole out pedantic lessons in feminine virtue and appropriateness. The means of enforcement are often astonishingly violent” (Paradiž, 53). The story of “Snow White” in particular “silently points to the conditions of women’s socialization, to the cultural context which frames that very process of development, defining and legitimizing it, while simultaneously setting stifling boundaries for it … The Grimm version … is grounded in the nineteenth-century European dominant discourse about women and the bourgeois cult of domesticity” (Bacchilega, 3). Understandably, many modern scholars have interpreted the Grimms’ fairy tales as anti-feminist, but this is a simplistic view that does not take into account the women who were the major proliferators of oral folktales. They used storytelling as a covert instruction manual for behavior in order to survive in patriarchal nineteenth-century Europe. The contributions of these women, unfortunately, went unsung. “When volume one of the Children’s and Household Fairy Taleswas published in 1812, Jacob and Wilhelm didn’t credit their female sources by name. Instead, they celebrated, in the foreword to the anthology, the nameless, poetic soul of German culture and its legions of ‘simple folk’ who had passed the tales down through the ages” (Paradiž, xiv). In sum, women contributed to the process but received no credit, while the poor Volk received credit but made no contribution. After collection, the Grimms proceeded to stamp the tales with their own voices, especially Wilhelm, who was chiefly responsible for the editing process. The stories in the KHM underwent vast changes, both from source to manuscript and from the first edition (1812) to the seventh (1857, now considered the standard). The project was inspired by a collaboration with Clemens Brentano and Achim von Arnim, to which the Grimms contributed only a few folk songs. Although the brothers disapproved of the poetic license Brentano appeared to be taking in his adaptations, they, too, would alter, especially in later editions of the fairy tales, the transcriptions they had collected from their women friends. But though they edited and cultivated the stories, to use Jacob’s words, to suit the tastes of modern, educated readers in the nineteenth century, they nonetheless continued to perpetuate the myth of accurately preserving the past by keeping the narrative style simple and the language folksy. (Paradiž, 61-2) Some of the stories remained fairly constant from edition to edition with only minor changes. Others, including the tale of Schneewittchen (Snow White), had more drastic alterations. This earned the Grimms serious criticism from some modern folklorists, especially John Ellis in his book One Fairy Story Too Many: The Brothers Grimm and Their Tales. He casts himself in the role of dutiful whistleblower exposing a pair of charlatans. Ellis claims, “It is very hard to imagine that they could have been unaware of the discrepancy between their insistence on authenticity, on the one hand, and their disregard for it in these actions, on the other” (93). Jack Zipes, another Grimms expert and translator of the tales into English, disagrees: The Grimms thought that the “slight” changes they made in the tales did not make much of a difference … Due to their extensive work as philologists, they firmly believed that they could cobble variants together to bring out the profound essence of the tales … Yet the Grimms were somewhat ingenuous in thinking that their changes did not alter the meanings of the tales, and that their high German could simulate the dialects and reinvigorate the blunt and colorful styles of diverse storytellers. (xxvii) Zipes concludes that the Grimms could have better defended themselves from critics if they had acknowledged that their stories were actually new tales, continuing the tradition of storytelling through the medium of print. The wide discrepancy between the Grimms’ ideals and their practice can be explained by the fact that their sense of loyalty to their work was based in what they considered the “essence” of the stories, rather than their exact wording (Kamenetsky, 163). The brothers saw their changes as harmless because there was no author of either oral or written stories who could claim ownership of any tale. “The general public did not distinguish between oral narrator and tale writer and regarded published stories as common property free for anyone to change” (Dégh, 69-70), therefore the Grimms would have felt no qualms about altering their material, even those they took from previously printed sources. Faith also played a role in the Grimms’ editing process. “The challenge which Wilhelm faced was how to revive the religious feelings in fragmented ancient pagan stories in such a way that they would elicit a religious reaction of the heart of Christian contemporaries” (Murphy, 7), which he happily did. Wilhelm saw the changes he made as not just harmless but necessary. As previously discussed, strong patriarchal themes were already present in the tales, but the Grimms, whether consciously or not, enhanced them. In Grimms’ Bad Girls and Bold Boys; The Moral and Social Vision of the Tales, Ruth Bottigheimer illustrates how “male protagonists usually got away with devious behavior, such as lying, cheating, and stealing (as did Bruder Lustig), yet the female protagonists were caught in their dishonesty and literally ‘ended up in nail-studded barrels.’ She felt that, with few exceptions, the Grimms’ folktales portrayed women as mute and passive victims dominated by circumstance, a perverted one-sided system of justice, or a powerful male figure (king, prince, or father)” (Kamenetsky, 281). The Grimms also used their own moral outlook in widening the disparity of how good and evil characters are treated in the stories: “the innocent are treated more gently, but the evil or guilty are punished even more brutally” (Ellis, 79). Like all artists, the Grimms stamped their work with their own personal and cultural biases. Despite modern criticisms, many folklorists still praise the Grimms for their innovation and devotion to preserving these relics of the past. In my research, I have come to see the Grimms neither as pure loyalists to tradition nor as unscrupulous frauds but as flawed human men, enthusiastic but oblivious. They are the picture of unexamined privilege: male, white, Christian, middle class, and well educated. It would never have occurred to them to stop and wonder what the implications and long-terms effects of the changes might be. What the Grimms saw as the “essence” of a story may have been completely different than those of the women who supplied the it or the poor Volk whom the Grimms claimed to represent. Nothing is known of how they might have objected to the brothers’ appropriations. For better or worse, the changes were made, the stories were published, and the KHM went on to sell second only to the Bible in the Western world. 2. Snow White “Snow White” is among the stories in the KHMthat the Grimms changed dramatically from the original sources (Ellis, 74). This is partly because the several variations of the tale that the brothers collected were so disparate that there was no way to select one as “authentic” or “original.” Instead, the Grimms patched together their favorite bits, added some of their own inventions, and ended up with a tidy Christian fable. One of the major changes the Grimms brought to the final version was the substitution of stepmother for mother. In the first edition, it was Snow White’s biological mother who is envious of her daughter’s beauty, which tells an entirely different thematic story than the one we are used to. Ellis describes it as a dramatic version of mother-daughter rivalry and sexual jealousy, in which the older woman, at first identifying with the flesh of her flesh, later sees herself eclipsed by a younger woman who is really a separate person and thus a rival. The daughter’s active participation in the rivalry is more than hinted at; for it is at her wedding—the celebration of her own beauty and sexuality—that her mother is put to death in grisly fashion, being forced to dance in red-hot shoes until she drops dead. Thus, she is destroyed at the very celebration of her daughter’s sexual power. (74) This theme of rivalry is especially true in the first edition, before the change was made, because it is Snow White’s father, not the prince, who rescues her, thus reinforcing the “competition for the affection of the father/husband” (Ellis, 76). By replacing the mother with a stepmother, the Grimms turned the story of a child’s self-actualization to one of Good vs. Evil: “In masculine psychology the stepmother is a symbol of the unconscious in its destructive role—of its disturbing and devouring character” (von Franz, 120). The story of “Hansel and Gretel” suffered an identical change, indicating that the Grimms were bowing to the social pressures of their time and culture, which held motherhood as sacred (Murphy, 124). Turning the wicked mothers into wicked stepmothers provided an acceptable distance between the heroes and their villains. The story opens with the vivid imagery of three colors: the good queen wishes for a child as red as blood, as white as snow, and as black as ebony. These colors crop up in similar stories of initiation around the world: “Historians of religion and anthropologists tell us that white, red, and black are the colors which accompany initiation, the process of becoming a whole human being, and the child is given the parts of white, red, and black to mark her potential” (Bacchilega, 4). In earlier versions of the story, the Grimms explicitly listed these as physical qualities—lips/cheeks, skin, and eyes/hair. In the seventh edition, these physical traits were not mentioned, the ambiguity indicating that these colors are both literal and metaphorical. They represent the personal qualities that the queen desires in her child: red, warm and loving; white, innocent and faithful; black, humble and connected to the dark earth and mortality (Murphy, 123). The colors become the first indicator that the story has been given a decidedly Christian flavor; Snow White’s true beauty is not in her physical appearance but in her soul. Snow White is driven out by her vain and jealous stepmother, who tells the huntsman to kill the child and bring back her liver and lungs for the queen to eat (Grimm, 197). Because Snow White is so beautiful (and therefore pure of soul), the huntsman cannot bring himself to kill her. This is another Grimm addition to the story, but “the episode of the huntsman is reminiscent of similar themes of the ‘compassionate executioner’” (Girardot, 289) found not only in other fairy tales but the stories of saints and martyrs. Snow White flees into the forest, the traditional setting in fairy tales for the testing grounds where trials are faced (Murphy, 126). The gatekeepers to this realm are the seven dwarves, monk-like in their compassion, industriousness, hermitic celibacy, and morality (Murphy, 128). They take in Snow White if she agrees to keep house for them, and they serve as the voice of reason in repeatedly warning her to beware of her stepmother. In a story that is now no longer a coming-of-age but one of Good vs. Evil, the wicked queen has become Lucifer, who fell from Heaven “because of his infatuation with his own beauty and his refusal to accept that anyone else was ‘the most beautiful in the land’ … Lucifer tempts human beings out of jealousy… and he always tempts with some form of the same temptation to self-infatuation to which he himself succumbed” (Murphy, 126). So too does the stepmother tempt Snow White with beauty and vanity: first with colorful corset stays, then with a beautiful comb, and finally with the iconic poisoned apple, which, like Snow White herself, is beautiful and “white with red cheeks” (Grimm, 201). “In the three ordeals the stepmother sequentially attacks the white (breath), black (hair), and red (apple-blood) elements of Snow White’s nature” (Girardot, 291), the virtues of her soul that set her apart from stepmother who sees her own worth as purely physical. There is also the parallel “of the apple with the fruit of earthly desires in the Biblical garden of paradise which brings death into the world but at the same time makes Adam and Eve aware of their sexuality and godlike power to create new life” (292). Snow White’s temptation is not a mere apple, but all the apple represents—beauty and sexuality (and therefore vanity and lust). Snow White succumbs to temptation in all three trials—not out of perversity or unquenchable female curiosity, like Bluebeard’s wife in another Grimm tale, but out of her naive belief in the goodness of people; the simple peasant woman offering her these gifts could not be evil (Murphy, 127). Because of her innocence and purity of faith, Snow White is not cruelly punished like many fairy tale “bad girls” but merely falls into a sleep-like death that will eventually be lifted. In further evidence of the religious tone of the story, the dwarfs wash Snow White’s body with water and wine, and all work stops for three days while they mourn (Murphy, 128). Here it is helpful to examine the symbolism present in the illustration (medium unknown, but most likely an etching) by Ludwig Emil Grimm, one of the younger brothers of Jacob and Wilhelm, for the 1825 “Little Edition” of the KHM. The image shows Snow White in the glass coffin that the dwarfs have fashioned for her, placed on top of a mountain, and guarded by one of the dwarfs and three birds: an owl, a raven, and a dove. Upon her death, Snow White is only seven years old (another detail added by the Grimms). When she begins to display the troubling tendency of giving in to temptation, she is put safely away until the danger is over. “The implication is that as Snow White lay deathlike in the crystal coffin for a ‘long, long time,’ she was of marriageable age at the end of the story—that is, she was around fourteen years old, or seven years beyond the age of seven” (Girardot, 283). If glass is a symbol of virginity (Faur, 27 Oct 2014), Snow White’s identity as a virgin is imposed upon her in the form of the glass coffin. She is trapped—literally by the glass coffin and figuratively by her identity as a virgin—until the dangerous time of adolescence has passed. In example after example of Christian female martyrs, their “purity” is lauded as their most important virtue: Saint Lucy, Saint Agnes, Saint Agatha, the Virgin of Antioch (no name needed, apparently; her virginity is her identity), Saint Apollonia, Saint Margaret, and Saint Christina. It is a disturbing trend that the purity of these women’s faith is conflated with the purity of their bodies: “that the blessed virgin Lucy possessed the beauty of virginity without trace of corruption; that she radiated charity without any impure love; her progress toward God was straight and without deviation” (de Voragine, 27). So too is Snow White pure in body and soul, remaining true to the colors that define her: red/loving, white/innocent, and black/humble. In death, Snow White’s body remains whole, pure and beautiful, suffering from no decay, which is consistent with other female Christian martyrs: “By the early modern period, incorruptibility of the whole cadaver or of a part (that is, remaining lifelike, supple, and without decay for decades after burial) was reported for almost every woman proposed for canonization” (Bynum, 70). Because Snow White is a virgin and pure of heart, her body remains whole in order to be ready for resurrection. The dwarfs take turns watching over the body of Snow White, but she is also guarded by three surprising figures: an owl, a raven, and a dove. The symbolism here is threefold. First, it is a repetition of the three colors that represent the virtues of Snow White’s soul: the reddish-brown owl, the black raven, and the white dove. Second, they are a nod to Wilhelm Grimm’s belief in the universal truths found in pre-Christian religions: the owl for Athena and the classic beliefs, the raven for the old Norse-Germanic beliefs, and the dove for Christianity. Third, they are the ever-present Holy Spirit that stay with Snow White until the arrival of the Son and Father (Murphy, 131). The final and perhaps most important addition by the Grimms is Snow White’s rescue and resurrection by the prince. Because Walt Disney’s adaptation of the story is so deeply lodged in our minds, most people are surprised to discover that in the Grimms’ final version Snow White is not awoken by the prince’s kiss. When the prince’s servants carry the coffin away, one stumbles, and the bite of poisoned apple falls from Snow White’s mouth. In Disney’s version, the prince and Snow White have already met and fallen in love. In the Grimms’ version, the prince sees Snow White for the first time when she is dead in her coffin; if the prince is merely a mortal man, the story wanders into the dangerously gruesome realm of implied necrophilia. Wilhelm Grimm wanted to stir the hearts, not chill the blood, of his readers. The Christ-like prince finds Snow White preserved in her virginal state, sees the worthiness of her beauty/soul, and enables her resurrection, telling her that he will take her to “my father’s castle” to “be my wife” (Grimm, 204). According to medieval writers, “a death to sexual reproductive life was inverted into a life in Christ as his special bride, and the late medieval authors likened the choice of a life of virginity to a death and rebirth as Christ’s bride” (Rubin, 156). If the prince were an ordinary man, Snow White would not have retained her purity in marriage. Instead, like a nun, she has become the bride of Christ. Throughout the various editions of the KHM, the manner of the wicked queen’s death in “Snow White” remains the same. At the wedding of Snow White and the prince, the queen is made to put on red-hot iron shoes and “dance until she fell down dead” (Grimm, 204). This “recalls folk practices of destroying a witch through the magic agency of iron. There are also associations of slippers and shoes with the female sexual organs which, as expressive of the egocentric overestimation of the physical dimension of human nature, represent the root of the stepmother’s evil” (Girardot, 297). True to fairy tale style and the Grimms’ polarized views in doling out justice, the villain suffers a grisly death and the heroine claims her Happily Ever After. 3. Beyond the Grimms: Contemporary Re-appropriation The fairy tale collection of the Brothers Grimm has remained hugely influential in the Western world for the past two hundred years. Adaptations appear in every conceivable medium, and “their success attests that the popular audience has internalized these formulas” (Dégh, 84-5). These retellings, often branching off into various subgenres and straying far from the “original” versions, have prompted certain critics to mourn the loss of the alleged purity of the Grimms’ collection. In his article “Yours, Mine, or Ours? Perrault, the Brothers Grimm, and the Ownership of Fairy Tales,” Donald Haase tackles the question of the ownership of fairy tales, debunking two popular myths in the process: nationalism and universalism. The Grimms’ tales are not purely German, for their sources can be traced back to French, Norse, and other European roots (385-6). The stories also cannot truly be called universal in nature, since the Grimms unconsciously wove in their own moral outlook. What psychologist Bruno Bettelheim (author of the renowned book The Uses of Enchantment) saw as universal truths were in fact the authoritarian, patriarchal values of Europe at the time of the Grimms—very similar, in fact, to Bettelheim’s own personal values (392). So if the Grimm fairy tales are neither national nor universal, to whom do they belong? “To be blunt: I do. And you do … We claim fairy tales in every individual act of telling and reading” (395). Fairy tales have no pure, original, incorruptible source. They have been undergoing a process of individual appropriation since the words “glass” and “coffin” were first put together. The Grimms’ tales are not holy texts to be preserved from sacrilege. Some scholars have attempted to do so, but this results in a sterile picture devoid of meaning. It is through this process of individual reclamation and appropriation that fairy tales regain their meaning—the meaning we give them. This is exactly what Western culture has done over and over again. The 1937 film adaptation by Walt Disney might almost be more deeply imbedded in modern American psyches than the Grimm version. Countless advertising and merchandising dollars over the past century ensured that Disney’s version not only became but stayed the new dominant narrative, the ultimate authority on Snow White. But Walt Disney was no less a product of his time than the Grimms. He downplayed the Christian symbolism in the story, but it is still present, especially in the final shot when the prince’s castle appears “not on the horizon as one might expect in a Disney film, but high above and ahead of the prince and his bride, radiant in the sky … like a golden city made of sunlight” (Murphy, 4). Disney gave us the sweetness of a happily ever after romance, a narrative produced and consumed en masse in Depression-era cinema. Since then, however, we have not been content with Snow White as the docile and demure damsel in distress. Modern feminism demands more of its heroines, as seen in the influx of Snow White retellings in the past few years. In the ABC series Once Upon a Time (2011-present), this new Snow White is “spunky yet vulnerable” (Tatar), armed with a bow and a complicated backstory. Another example is the 2012 film Snow White and the Huntsman, “reconceived to appeal to an audience partial to high-decibel special effects … Like all fairy-tale adaptations, it also operates like a magnet, picking up relevant bits and pieces of the culture that is recycling the tale” (Tatar). Once again we see a Snow White who is strong and inspiring, who “channels Joan of Arc” (Fricke; Tatar) and leads an army to reclaim her kingdom. A lesser-known version is another film in 2012 called Mirror Mirror, in which Snow White avoids death altogether by seeing through the poisoned-apple trick and outsmarting the wicked queen. In most contemporary adaptations, the powerful fairy tale images remain—the magic mirror, the poisoned apple, the glass coffin, and the resurrection by true love’s kiss. But Snow White is no longer the Grimms’ one-dimensional archetype nor Disney’s vapid and saccharine maiden. We have given her what the Grimms never did: a personality, a purpose, and a weapon. The Brothers Grimm were another link in this endless chain, creating their own adaptation for their own purposes. Their failure, however, was in being oblivious to the larger implications of the choices they made. No fairy tale adaptation exists in a vacuum. Every story or piece of art is part of the greater narrative of how we represent martyrs, women, and other oppressed peoples. The artist has a responsibility to the truth as they see it, but the work will inevitably be colored by their own socio-historical context. We can—and should—continue to re-appropriate fairy tales, using old stories to find new meaning, but we must be conscious of our accountability and intentional in our choices. Every martyrdom narrative has consequences, but when the martyr is fictional, her voice is our voice; we use her story to tell our own. Snow White is still our martyr; she can be a martyr for each one of us. Bacchilega, Cristina. “Cracking the Mirror: Three Re-Visions of ‘Snow White.’” boundary 2, Duke University Press.15.3 and 16.1 (Spring – Autumn, 1988): 1-25. JSTOR. Web. 13 Bynum, Caroline Walker. “Bodily Miracles and the Resurrection of the Body in the High Middle Ages.” Belief in History: Innovative Approaches to European and American Religion. Ed. Thomas Kselman. London: University of Notre Dame Press, 1991. PDF. Dégh, Linda. “What did the Grimm Brothers Give to and Take from the Folk?” The Brothers Grimm and Folktale. Ed. James M. McGlathery. Urbana and Chicago: University of Illinois Press, 1988. Print. Ellis, John M. One Fairy Story Too Many: The Brothers Grimm and Their Tales. Chicago: University of Chicago Press, 1983. Print. von Franz, Marie-Louise. The Interpretation of Fairy Tales. Boston: Shambhala Publications, Inc, 1996. Print. Faur, Amjad. The Evergreen State College, Olympia, WA. 27 Oct 2014. Lecture. Fricke, Cate. “Mirror, Mirror, on the Wall: Who Has the Most Girl-Power of Them All?” Something to Read for the Train.Pub. 20 Jun, 2012. WordPress.com. Web. 13 Nov, Girardot, N. J. “Initiation and Meaning in the Tale of Snow White and the Seven Dwarfs.” The Journal of American Folklore90.357 (1977): 274-300. JSTOR. Web. 13 Nov. 2014. Grimm, Jacob and Wilhelm. The Complete Fairy Tales of the Brothers Grimm. Translated by Jack Zipes. New York: Bantam Books, Inc, 1987. Print. Grimm, Ludwig Emil. Medium unknown. Haase, Donald. “Yours, Mine, or Ours? Perrault, the Brothers Grimm, and the Ownership of Fairy Tales.” Merveilles & Contes 7.2 (1993): 383-402. JSTOR. Web. 15 Oct. 2014. Kamenetsky, Christa. The Brothers Grimm and Their Critics: Folktales and the Quest for Meaning. Athens, OH: Ohio University Press, 1992. Print. Murphy, G. Ronald. The Owl, the Raven & the Dove: The Religious Meaning of the Grimms’ Magic Fairy Tales. New York: Oxford UP, 2000. Print. Paradiž, Valerie. Clever Maids: The Secret History of the Grimm Fairy Tales. New York: Basic Books, 2005. Print. Rubin, Miri. “Choosing Death? Experiences of Martyrdom in Late Medieval Europe.” Martyrs and Martyrologies: Papers Read at the 1992 Summer Meeting and the 1993 Winter Meeting of the Ecclesiastical History Society. Ed. Diana Wood. Oxford: Published for the Ecclesiastical History Society by Blackwell Publishers, 1993. PDF. Smith, Leonard S. Religion and the Rise of History: Martin Luther and the Cultural Revolution in Germany, 1760-1810. Cambridge: James Clarke & Co, 2009. Print. Tatar, Maria. “Snow White: Beauty is Power” The New Yorker. Pub. 8 Jun, 2012. Web. 13 Nov, de Voragine, Jacobus. The Golden Legend: Readings on the Saints. Translated by William Granger Ryan. Princeton, NJ: Princeton University Press, 1993. PDF. Zipes, Jack. The Golden Age of Folk and Fairy Tales: From the Brothers Grimm to Andrew Lang. Indianapolis/Cambridge: Hackett, 2013. Print.

<urn:uuid:b3cd2ed4-62d5-43c8-82e3-d67c8416c6d6>

CC-MAIN-2019-18

https://gaudiloquence.com/2014/12/17/the-virgins-coffin-snow-white-the-brothers-grimm-and-appropriation/

s3://commoncrawl/crawl-data/CC-MAIN-2019-18/segments/1555578656640.56/warc/CC-MAIN-20190424194348-20190424220348-00338.warc.gz

en

As you may have read, this half term we focused on the teaching of memoir. In our first week we discussed the genre using our genre-booklets and this created a buzz for the rest of the project. Focusing on the genre and why people write memoir allowed the generating of ideas to happen fairly quickly. This is a re-blog post originally posted by @lit4pleasure and published with kind permission. The original post can be found here. Do you have a blog post which you are proud of? Submit your blog post for reblogging on UKEdChat.com by clicking here We used around three techniques for generating memoir ideas. These included: - Questions for memoirists – Children answer questions to jog their memories for potential memoir ideas (see our article about memoir writing). - Using the ‘Michael Rosen’ effect. This is where children can take an otherwise ordinary moment and make it extraordinary. This can be an alternative to memoir writing for children who would much rather not write about anything overly heartfelt or emotive – which we can occasionally come across. - Creating an Ideas Heart and allow children to add to it throughout the year.This includes: ‘What makes me happy, angry, scared or upset’ lists. The children are well aware of these techniques which published authors often use to generate original writing ideas. Here are some of the topics the children chose to write about: - Meeting a new pet for the first time, - Moments from holidays, - The birth of siblings, - Learning to do something new for the first time, - The death of a loved one – including pets, - Family separations, - Meeting distant relatives for the first time, - Special times spent with family, - Meeting a hero, - Taking part in sporting competitions, Because we asked children to focus on just a small moment in time – what we call a ‘pebble moment’ (taken from Nancie Atwell’s book In The Middle) the drafting of these pieces came very quickly for the children. We suspect that this was also due to the fact that the children were writing on a topic in which they felt an expert. Our writing-study lessons were a real success. We focused on how the children can use narrative devices to improve their memoirs. During the revision stage, we again used the genre-booklets and the children looked for opportunities to explore in more detail the following: - Strong openings, - Setting description, - Character development, - Poetic and figurative language to describe, - Interesting endings which carry a message for the reader. Again, we believe the children were able to take on this kind of linguistic burden due to the fact they were writing about a topic they were sure of. They could see where, when and how to use these devices in their pieces to good effect. Our functional-grammar study was based on the use of time-openers and paragraphing as a means to move time forward and expanded-noun phrases to provide additional details for the reader. Below, we are pleased to share a variety of different memoirs from across the year group. These were produced by children in year 5 (9-10 years old). If you have liked what you have read here and would like to read more about our approach to writing which we call ‘Real-Word Literacy’, you can follow the link here. If you’d like to view our Genre-Booklets, you can follow this link. As always, thank you for reading and we hope you enjoy the memoirs: Long Time, No See As I sat in my car, I leant my head back and closed my eyes as tight as I could. I let my mixed feelings wash over me. Scared, excited, shy but most of all happiness. All these feelings pointed to my half-brother Edward, who I was going to see today for the first time in three years. The car halted so fast my stomach almost flew out of my mouth. I was shocked out of my thoughts and back to real life. I was tingling all over when I stepped out of the car. From one look up I noticed the day had turned around – just like my feelings. The day had changed from dark and gloomy with clouds of worry fogging up my mind to bright, blue skies with and hint of sunshine. But still (even with a hopeful feeling in my heart) a small cloud was just not shifting from mind. I jumped down into the mud. My shoes splatted but I was only concentrating on keeping my head down for as long as I could (without being noticed). My cheeks felt like they were at melting point and my legs were shaking like jelly. When I couldn’t keep my head down any longer, I slowly but surely tilted it up. My younger brother (Joe) had rushed up to Edward and was confidently babbling away and squeezing him to death. I could not quite hear what he was saying but I was sure that I would not be able to speak to Edward that easily. Joe has always been care-free and confident like that. Edward was taller than I had ever imagined and he cast a long shadow over the front garden. He had a small but noticeable beard and a sleeve of tattoos down one arm. He lifted his gaze over Joe and caught my eye. I wanted to rush back into the car and hide there forever but there was something drawing me towards him. Joe finally let go and went to talk to my dad – who was standing in the doorway behind Edward. Suddenly, I did something very unexpected. I rushed up to Edward and squeezed him till I was sure he would burst. I felt comfortable in his arms like all I had had to do was hug him and it was possible everything would have been ok. I looked into his eyes and smiled “Hello Edward,” I said shyly. He stared straight back into mine and grinned till his face almost split. “Hello Emma,” he replied. I released him and grabbed his hand, dragging him inside for many more adventures together. I’ve learnt that you have to grab the moments while they last and make the most of them. I hope you do too. By Emma London (9-Years Old) The Day My Life Changed! I have been waiting for months for this to come. My baby brothers were finally born. When I woke up, I was at my nan’s house. I asked my granddad why I was here? At 7oclock in the morning, my nan got home to pick me and my sister up, to get us to the hospital. I was thrilled and rushed out of the house. I was the first to get in the car. I was buzzing with excitement! When we got there, I unplugged my seatbelt, got out of the car and ZOOMED through the hospital doors. My nan shouted “Calm down!” I shouted back at her “I can’t! I feel like I’m going to EXPLODE!” – even though I couldn’t. After that, we got into the lift and went to floor 4 where my mum was. I heard babies crying; nurses and doctors talking loudly. My mum looked so tied. I hugged her like no one else could. My dad asked us if we wanted to go and see our new baby brothers. They were in separate rooms because my brother Leo was born dead but 7 minutes later he started to breathe again. He was the same size as my shoulder to my elbow. He had a little bit of golden hair as if it was popcorn .He had long eye lashes like spider legs. I couldn’t really see that much of him because he had tubes and face masks on him everywhere. Next, we went to see Lee Junior. He was a bit bigger than Leo. He had soft silky skin and bright blue eyes that sparkled when I glared at him. I leant over and smelt him because I love that baby type of smell. They both were so adorable and very precious. I really wanted to hold them but we weren’t allowed. I carefully stroked their tiny little faces. I wanted to take them home today but they were born a month early and were really poorly. You see, this is a story of how Lee Junior was a hero .When they were in my mum’s tummy, Leo’s cord was in a tight knot and stopped him breathing. However, Lee Junior, incredibly saw what was happening and broke my mum’s water and now Leo and Lee Junior are in safe hands with the doctors and the nurses. Two weeks later, I went to Matilda’s house and when I came home, there they were, laying there asleep, on the sofa! And now we are a proper family. By Tina Westley (9 years old) I was desperately sitting in front of the incubator watching the duck eggs. Although I knew they weren’t ready to hatch, I still sat there waiting. One afternoon, when I came back from school, my dad told me one of the duck eggs had started hatching. I was so excited until… I found out it was about two or three weeks early. My parents had to superglue it together. We all thought it wouldn’t hatch but we were wrong. We all knew that if it hatched the duck lurking inside would be called superglue. Soon, the ducks started poking their tiny, orange beaks out of their little turquoise house. First to hatch was an adorable little male duck, who we called Gamima (at the time we thought he was a female). The second one to hatch was small compared to Gamima. We called her Daffy. Over the course of the next few days, the other eggs started to hatch – all of them except Superglue. Finally, his egg started to form a lightning bolt across the top and a small beak pecked its way through the shell. As soon as I laid my eyes on him I knew he was my favourite. In some way he was the most special. He was a small pile of adorable, yellow fluff and I loved him dearly. Soon, I and the rest of my family were allowed to hold the ducks. It was the most amazing experience I had ever had. They had the beautiful shape and were too soft to describe! They closed their eyes when you stroked them and leant their head to my body. As I stroked their head, I felt their soft skull beneath their warm feathery skin. They were so light they could fall over if a light breeze hit them. Their tiny webbed feet griped to my relaxed fingers. That weekend it was time for the ducks to have their first adventure outside. It was a beautiful, hot summer’s day and the blazing sun shone over our garden. Daisies had started sprouting from the grass and apples were hanging from our small apple tree. The ducks were all so happy. After an hour outside, it was time for the ducks to go back into the house. My dad scooped up six of the ducks and took them inside. The only one left was superglue who was wandering around in the garden. Me, my mum and my brother were watching him. The minute we turned our backs away, there was the sound of a faint quacking and a fox running. A fox had superglue in his mouth. When my dad tried to catch the fox, it ran out of the garden and disappeared. Superglue was gone forever. By Emma Goodheart (10 years old) The Best Match Ever! This was it. Me and my dad were walking up Wembley Way, to see the FA Cup Final. Man United vs Crystal Palace. I could smell pork being cooked in the back of a van. It was about 3:00 PM and the sun was shining bright over the unmistakable arch of Wembley Stadium. Me and my dad always like to make score predictions before matches we see. My dad thought 3-0 Crystal Palace and I thought 1-0 United. People were chanting their team’s songs and were drinking a lot of beer. I could see a few people fighting which was not very good. But we’d finally got passed security and were now walking up the steps. Me and my Dad support United so we were both buzzing with excitement. When we got to the final step, we could see the green pitch popping out at us. We walked to our seats and sat down. I was ready. After 70 minutes of very boring football, Crystal Palace scored. The other side of the stadium roared with excitement. It was as if the flood lights were shining on the Crystal Palace fans and players. On our side it was as quiet as a pin dropping on a big, fluffy rug. “Oh no,” I quietly said to my dad (who had his head in his hands). It was now the 80th minute and the United fans were losing hope. Just as people started to leave, United scored! All of us screamed with joy and jumped into the air. “Cooomme onnn!” shouted my Dad (who didn’t have his head in his hands anymore). My head was filled with thoughts such as: we’ve brought it back and can we win the cup? Ten minutes later, the ref blew the final whistle and the score was 1-1. Every single person in Wembley knew that there was another 30 minutes for a winning goal. I was extremely excited and extremely scared because I knew that the next half hour would decide whether today was the best day of my life – or the worst… It was now the 20th minute of extra time and there were still no more goals but United were on an attack! Wayne Rooney was running down the left wing with the whole United team in the penalty area. Rooney got to the bi-line and crossed the ball into the area, the ball spun in the air and immediately bounced off Delany’s knee. The attack had stopped. Or had it? The ball was flying in the air and fell to Jesse Lingard. He took an ambitious first-time volley. The ball, which was going as fast as a falcon swooping down at its prey, went right into the top left-hand corner of the net! It was the winning goal! Me and my Dad jumped up in the air and were hugging each other. Even a man, who was in the stand above, was hugging us both! That is why the 21st of May 2016 was the best day of my life and the best football match I’ve ever been to. By Freddie Levine (10 years old) The Day I Met My Hero Have you ever wondered what it would be like to meet your hero? Dad, who was a great rugby player, knew they were in town. My hero in Hastings. For that reason, we went on a hunt, a hunt for Owen Farrell, who was my idol, and the whole England Rugby Team. All of a sudden, out of the corner of my brother’s eye, he saw an England Rugby Tracksuit. In desperation he shouted “They are over there!” “This would change my life forever” I thought as we walked up the stone steps to the Jurys Inn. I tentatively crept up the stone steps and pushed open the great glass doors. The Jurys Inn was packed with huge windows and was amongst the seafront. The windows opened up to the wavy, blue sea. The sun was shining in the sky like a shooting star flying in the night sky. The inside was huge with a bar the size of a Porsche, and had multiple rooms around it. There were stairs either side of us and there was lots of bustling people around gossiping. I was shy to the touch. My heart was beating like a buzzard’s wing I kept looking backwards and forwards waiting. For the special arrival. But would he ever come? I thought. My stomach turning inside me like a washing machine. Then, out of nowhere, a 6’3 man came in. His hair elevated in the air like a plane trying to thread through clouds. Owen Farrell was wearing an England tracksuit and was with George Ford (another professional rugby player). “It’s OWEN FARRELL!” I exclaimed to my dad. Before I realised, I was asking him for a picture and signature with my brother. As my Dad took the picture, I thought “I’m not seeing him through tiny pixels.” That moment was precious to me. Finally, to top the day off, I got him and only him, to sign my new England rugby shirt. Not wanting to go, my Mum and Dad forced me to leave. We went into Donatello’s for dinner that night and well, I was defiantly not taking my jumper off… By Tom Stock (9 years old) Sprinkles On The Moon Have you ever wondered how ice-cream tastes at midnight? Well, one warm night in the summer holidays, me and my family went out for a walk until my dad had an idea that changed the whole day! There we were at Jojo’s. One step blew our minds. There was a variety of different flavours spread across the room, my mum looking at the melon flavour, me and my brother Luis scanning the room for unusual flavours like Kinder Bueno, water melon and even peanut butter! Finally, we all chose our flavours. I chose strawberry, Luis lemon sorbet, my cousin Kleo Kinder Bueno, my mum finally chose melon and my dad vanilla. We all stepped out still amazed, and we made our way down to the seafront. On the way there, Kleo randomly said in Albanian. “Do you know why I chose Kinder Bueno?” “Why?” My dad replied. “Because in Italy, all the ice-cream shops do it.” He finished. When we got there, my dad went down to the sea and shouted. “The sea has at least risen by a metre!” Me and Luis sharply looked at the sea and we saw that it was slowly overlapping itself like dark baby horses in a race for victory. We both raised our eyebrows amazed. We were staring at the stars –it was like the moon was a spotlight shining down at us-tongues against ice-cream like iron to a magnet. Drunk men frequently shouting at nearby pubs, the cool, relaxing breeze gently touching our faces. Ice-creams’ melting and growing by the minute and frozen flakes refreshing our bodies. All this until my mum suggested that it was getting late and we should start walking to the car that was parked more than a mile from where we were. Our dad told us that we had to get going until I asked, “Can we get seconds?”… By Agim Sinani (9 years old) “Harry has died,” Mum said to me in a mournful voice in the morning. But who is Harry and how had he died? Let’s go back to the night it happened. It was a cold evening, the moon was bright and cars bustled past each other in a mess of grimy bonnets and gleaming headlights. It seemed a perfectly normal evening and houses squatted low on the street. I was playing in my room having an enjoyable time when someone shouted “Something is wrong with Harry,” (Harry was our cat and seventeen by now. With fluffy paws and a warm coat, our family loved him). I went downstairs to see what was up. Fred. who was my brother, knelt by Harry who was tottering around as if blind. “What’s wrong?” I asked with curiosity. “Harry doesn’t seem to notice me,” said my brother “Harry, Harry”. Mum and Dad came down -worried looks on their faces. “He has gone blind,” said Dad and my heart ached as if someone were squeezing its juices out. “It might be diabetes,” said Mum (that sounded bad). “Try feeding him,” suggested someone. Immediately, Harry turned up his nose at the food placed in front of him. He let out a mournful meow. He needed the vets. Terrified, Harry got into his basket. Dad hauled him into the car. Tears rolled down my cheeks. I stroked Harry one last time. Dad stamped on the pedal and I watched the car pull out into the road and speed into the night. That was my last glimpse of Harry. In the morning, there was silence. The trees stood high, leaves on their branches. The sun seemed dim as if a life had been lost. I dragged myself downstairs and we are now back at the beginning with mum delivering the terrible news. Later that day, I saw Harry’s bed, wishing he was still in it. That was when my precious Harry was lost… By George Newman (10 years old) I slowly trudged out of my house. The house I would never again laugh in; never again cry in. The house I would never again eat in; never again sleep in. Mum heaved our suitcases out of the house and into the Grandpa`s van. My eyes started watering. It was a rainy day, as there is always horrible weather in Manchester. We lived on a street with a dead end. Our house was on the right side at the end of the road next to the tall cobble wall. My cousins lived opposite us. I took once last glance at the house I loved, but would never see again. I didn’t understand why this was happening (as I was only 3 and a half) but I knew what was happening, “Mum, why do we have to leave Dad?” I pleaded, hoping she would change her mind of leaving Dad and stay with him “Because we are.” Mum said sharply. I turned around, Dad was at the front door. I ran across the gravely path and into Dad`s arms.” Do you promise you will write to me?” I asked Dad. “Promise.” He replied It felt as if my heart broke in two like a piece of paper being torn to shreds. I was trying to hold my sadness in, but it just came all over me. My sadness gushed out of me and I burst into tears. I squeezed Dad tight. Why does it have to be like this? I thought. “Come on Aleena, get in the van” Mum called. I scooted over to her, and I clambered into the van. I shut the door. I looked out the window and I saw Dad waving. I could faintly hear his voice saying “Goodbye!”. As his voice died away, so did my hope. Would I ever see him again, I thought to myself. By Aleena Koraishi (9 years old)

<urn:uuid:0793a602-65cb-4b70-afc2-82fc4b381f95>

CC-MAIN-2019-18

https://ukedchat.com/2017/02/14/pupils-writing-memoir-a-great-literacy-topic-by-lit4pleasure/

s3://commoncrawl/crawl-data/CC-MAIN-2019-18/segments/1555578530040.33/warc/CC-MAIN-20190420200802-20190420222802-00223.warc.gz

en

In this topic, we will delve into the foundational principles of game design, including game mechanics, player experience, level design, and storytelling. While these concepts are not specific to any game engine, we will explore how the tools and features provided in Unity can be used for effective implementation. - We will discuss the essential elements of game mechanics, such as rules, goals, challenges, and feedback. - Examples will be provided on how to create and implement mechanics using the scripting capabilities and built-in components. - We will explore the physics engine, particle system, and animation tools to create dynamic and engaging mechanics. Essential Elements of Game Mechanics Game mechanics are the foundational systems and rules that govern player interactions within a game. They provide structure, define the gameplay experience, and contribute to the overall enjoyment and engagement of players. There are several essential elements of game mechanics that game designers must consider: - Rules: Rules establish the boundaries and limitations within which the game operates. They define what is allowed and what is prohibited, providing structure and consistency. Clear and well-defined rules ensure that players understand how the game functions and what actions are possible. - Goals: Goals give players a sense of purpose and direction. They provide objectives to strive for, creating a sense of progression and accomplishment. Goals can be short-term, such as completing a level or defeating an enemy, or long-term, such as completing a story arc or achieving a high score. Well-designed goals provide motivation and drive players to continue playing. - Challenges: Challenges introduce obstacles and difficulties that players must overcome to achieve their goals. Challenges can take various forms, such as puzzles, enemies, time limits, resource management, or strategic decision-making. Well-designed challenges strike a balance between being achievable yet sufficiently demanding to keep players engaged and provide a sense of accomplishment upon overcoming them. - Feedback: Feedback is essential for player understanding and engagement. It provides information to players about their actions, progress, and the game state. Feedback can take various forms, including visual, auditory, or haptic cues. Positive feedback, such as rewards, level completion, or congratulatory messages, reinforces desired behaviors and motivates players. Negative feedback, such as failure states, alerts, or penalties, helps players learn from mistakes and adjust their strategies. How to Create and Implement Mechanics Using Unity Scripting - Begin by clearly defining the mechanics you want to create. Identify the specific rules, actions, and interactions involved in the gameplay. - Familiarize yourself with C#, a primary scripting language used in Unity. Learn the basics of variables, data types, control flow, and object-oriented programming concepts. - Create a new C# script in Unity to implement your mechanics. Right-click in the Unity project window, select "Create," and choose "C# Script." - Double-click the script file to open it in your preferred code editor, such as Visual Studio or Visual Studio Code. - Within your script, define functions and variables that correspond to the desired mechanics. For example, if you're creating a jumping mechanic, you might define a Jump() function and a 'jumpForce' variable. - Utilize the built-in components and functions to access and manipulate game objects and their properties. For instance, you can use the Rigidbody component to control physics-based interactions or the Animator component to handle character animations. - Write code within the appropriate functions to handle the behavior and interactions of the game mechanics. For example, within the Update() function, you can check for player input and trigger the Jump() function when necessary. - Leverage the event-driven system to respond to specific events such as collisions, button presses, or time-based triggers. Implement event handlers and listeners to execute relevant mechanics in response to these events. - Regularly test your mechanics within the Unity Editor to ensure they work as intended. Use the Play mode to simulate gameplay and identify any issues or bugs. - Debug and troubleshoot your code by using breakpoints, logging statements, or Unity debugging tools. - Iterate and refine your mechanics based on playtesting and user feedback. Fine-tune parameters, adjust timings, or add additional functionality to enhance the gameplay experience. - Utilize the Asset Store or create your own assets, such as 3D models, textures, or audio, to enhance the visual and auditory aspects of your mechanics. - Integrate these assets into your game by importing them into the Unity project. Assign them to appropriate game objects and utilize them within your mechanics. - Refer to the Unity official documentation, tutorials, and online resources for more in-depth guidance on Unity scripting and utilizing built-in components, or hire a professional Unity developer. Unity Physics Engine, Particle System, and Animation Tools 1. Physics Engine - Unity physics engine allows you to simulate realistic physics interactions in your game. It handles collisions, gravity, forces, and rigidbody dynamics. - To utilize the physics engine, attach a Rigidbody component to game objects that require physics interactions, such as characters, objects, or projectiles. - Configure the Rigidbody properties, such as mass, drag, and constraints, to achieve the desired behavior. - Use physics-based functions, such as AddForce(), AddTorque(), or OnCollisionEnter(), to apply forces, detect collisions, and create reactive gameplay elements. 2. Particle System - Unity particle system is a versatile tool for creating various visual effects, such as explosions, fire, smoke, or magical spells. - Open the Particle System window and adjust parameters like emission rate, shape, size, color, and lifetime to create the desired particle effect. - Utilize different modules, such as the Renderer module or the Collision module, to control rendering and interaction with other objects. - Trigger particle effects programmatically using scripts to add visual flair to your mechanics, such as spawning particles on impact or creating particle trails for moving objects. 3. Animation Tools - Unity provides a robust animation system for creating character movements, object animations, or visual effects. - Use the Animation window to create keyframe-based animations. You can animate properties like position, rotation, scale, or blend shapes. - Set up animation controllers, states, and transitions using the Animator window to control the flow of animations based on game events or player input. - Blend animations together, create animation layers, or utilize humanoid rigs and inverse kinematics (IK) to achieve more complex and realistic character animations. - Trigger animations programmatically using scripting to synchronize animations with gameplay events, such as attacking, jumping, or interacting with objects. - Understanding player psychology and motivations will be a key focus. We will discuss concepts such as player agency, flow, and immersion. - We will explore how the input system can be utilized to provide responsive and intuitive player controls. - Unity audio and visual effects capabilities will be examined to enhance the player experience and create emotional impact. Understanding Player Psychology and Motivations 1. Player Motivations - Players have different motivations for playing games, such as achievement, competition, exploration, social interaction, immersion, or relaxation. - Identify the primary motivations you want to target in your game and align your mechanics, goals, and rewards to cater to those motivations. - Consider incorporating various gameplay elements, such as leaderboards, achievements, unlockable content, or cooperative/competitive multiplayer, to appeal to different types of player motivations. 2. Player Agency - Player agency refers to the sense of control and influence players have over the game world and their own actions within it. - Provide players with meaningful choices and consequences. Allow them to make decisions that impact the game's outcome or narrative, fostering a sense of autonomy and engagement. - Strike a balance between challenge and skill, ensuring that players feel a sense of mastery and accomplishment when overcoming obstacles or achieving goals. 3. Flow and Immersion - Flow refers to the state of optimal engagement and focus that players experience when the challenges presented in the game match their skill level. - Design your game to offer a gradual increase in difficulty, providing players with a challenging yet manageable experience. - Promote immersion by creating a coherent game world, compelling narrative, and immersive audiovisual elements that transport players into the game's universe. 4. Emotional Engagement - Emotions play a significant role in shaping player experiences and memories. Design mechanics, narratives, and characters that evoke emotional responses, such as joy, excitement, tension, or empathy. - Leverage storytelling techniques, character development, audiovisual cues, and impactful moments to create emotional connections with players. 5. Feedback and Rewards - Feedback is essential for player understanding and motivation. Provide clear and immediate feedback to players about their progress, achievements, or mistakes. - Utilize rewards strategically to reinforce desired behaviors and goals. Consider using a combination of intrinsic rewards (e.g., a sense of accomplishment) and extrinsic rewards (e.g., in-game items or achievements) to motivate players. - We will cover the principles of level design, including pacing, difficulty progression, and creating memorable environments. - The Unity scene editor will be explored to design and construct game levels, including placing objects, setting up colliders, and implementing interactive elements. - We will discuss techniques for optimizing level performance and creating efficient level streaming using the tools provided in Unity. Principles of Level Design 1. Clear Goals and Objectives - Clearly define the goals and objectives of each level to provide players with a sense of purpose and direction. - Communicate the goals through visual cues, dialogue, or prompts to guide players on what they need to achieve. 2. Progression and Pacing - Design levels with a sense of progression and pacing to maintain player engagement and avoid monotony. - Introduce new challenges, mechanics, or environments gradually, allowing players to learn and adapt to new situations. 3. Balancing Difficulty - Strike a balance between challenge and player skill level. Design levels that offer a suitable level of difficulty, providing a sense of accomplishment when players overcome challenges. - Gradually increase the difficulty as players progress, ensuring a smooth learning curve and avoiding frustration or boredom. 4. Exploration and Discovery - Encourage exploration within levels to reward players with hidden secrets, collectibles, or optional paths. - Provide visual or audio cues that hint at potential rewards or points of interest, encouraging players to explore and discover. 5. Environmental Cohesion and Theming - Create levels with a cohesive and consistent visual theme, art style, or narrative context. - Ensure that the environment, props, and architecture align with the overall theme of the game to enhance immersion and create a cohesive world. 6. Spatial Design and Flow - Carefully consider the layout and flow of the level, guiding players naturally through the environment. - Use level geometry, landmarks, lighting, or other visual cues to direct players and prevent confusion. - Avoid dead ends or areas that feel disconnected, ensuring a smooth and logical progression. 7. Variety and Replayability - Provide variety in level design elements, such as enemy placement, obstacles, or puzzles, to keep gameplay fresh and engaging. - Incorporate opportunities for different playstyles or approaches, allowing players to tackle challenges in their preferred manner. - Consider replayability factors, such as alternative routes, randomized elements, or additional objectives, to encourage players to revisit levels. 8. Performance and Optimization - Optimize levels to ensure smooth gameplay performance, especially in resource-intensive scenes or complex environments. - Utilize techniques like occlusion culling, level streaming, or LOD (Level of Detail) systems to manage performance efficiently. Unity Scene Editor 1. Scene Hierarchy - The Scene Hierarchy panel displays a hierarchical view of all the game objects present in the scene. - Developers can organize objects into parent-child relationships, allowing for convenient grouping and manipulation of objects. - Objects can be selected, moved, rotated, and scaled directly within the Scene Editor using gizmos or by adjusting their properties in the Inspector panel. 2. Transform and Manipulation Tools - Unity Scene Editor provides intuitive transform and manipulation tools for positioning, rotating, and scaling game objects. - Developers can interactively manipulate objects using handles and gizmos within the Scene view. - The snapping feature allows the precise alignment of objects to a grid or specific positions. 3. Camera Control - The Scene Editor allows control over the camera view, enabling developers to navigate and visualize the scene from different angles and perspectives. - Camera controls include panning, zooming, rotating, and focusing on specific objects or areas of interest within the scene. 4. Object Placement and Creation - Game objects can be created and placed directly in the scene using Unity Scene Editor. - Developers can choose from a wide range of pre-existing objects, such as primitives, particle systems, lights, terrain, or custom prefabs. - Objects can be positioned precisely in the scene using the transform tools or by entering specific values in the Inspector panel. 5. Lighting and Environment Setup - Unity Scene Editor allows for the setup and configuration of lighting and environment settings within the scene. - Developers can place and adjust various types of lights, such as directional, point, spotlights, or area lights, to achieve desired lighting effects. - Environmental settings like skyboxes, fog, and ambient lighting can be configured to create specific moods or atmospheres. 6. Navigation and Pathfinding - The Scene Editor provides tools for setting up navigation meshes and defining navigation areas for AI agents or player movement within the scene. - NavMesh components and settings can be configured to allow for pathfinding and AI navigation. 7. Collaborative Editing - Unity Scene Editor supports collaborative editing, allowing multiple developers to work on the same scene simultaneously. - Changes made by one developer are reflected in real-time to other collaborators, enhancing team productivity and facilitating teamwork. Techniques for Optimizing Level Performance and Creating Efficient Level Streaming 1. Occlusion Culling - Occlusion culling is a technique used to prevent the rendering of objects that are not currently visible to the camera. - Unity provides built-in occlusion culling tools that automatically determine which objects are occluded by other geometry and exclude them from rendering. - Configure occlusion culling settings in Unity Occlusion Culling window and bake occlusion data to optimize rendering performance. 2. Level of Detail (LOD) Systems - LOD systems involve creating multiple versions of a 3D model with varying levels of detail. - Objects that are far away or not in focus can be replaced with simpler or lower-resolution models, reducing the overall polygon count and improving performance. - Use the Unity LOD Group component to set up and manage LOD levels for your models, allowing automatic transition between different levels based on distance. 3. Culling and Frustum Culling - Unity culling techniques help determine which objects or parts of objects should be rendered based on their visibility to the camera. - Culling techniques, such as view frustum culling, backface culling, or object culling, can be used to exclude objects or geometry that are not within the camera's view. - Utilize the built-in culling features and enable them selectively to optimize rendering performance. 4. Level Streaming - Level streaming involves dividing a large game level into smaller sections or chunks and loading them dynamically based on the player's position or game events. - Splitting the level into smaller parts allows for more efficient memory management and reduces the need to load the entire level at once. - Use Unity SceneManager API to load and unload specific scenes or sections of your level dynamically as needed, reducing memory overhead and improving performance. 5. Asset Bundles - Asset bundles allow you to package and load game assets dynamically at runtime. - By separating assets into bundles, you can load and unload specific assets or groups of assets as needed, reducing memory usage and improving load times. - Utilize the Unity Asset Bundle system to create and manage asset bundles for your game's level assets. 6. Batching and GPU Instancing - Unity batching and GPU instancing techniques help reduce draw calls and improve rendering performance. - Combine multiple static or similar objects into a single batch to minimize the number of draw calls sent to the GPU. - Utilize GPU instancing to render multiple instances of the same object with a single draw call, reducing CPU overhead and improving rendering efficiency. 7. Profile and Optimize - Regularly profile your game using Unity Profiler to identify performance bottlenecks and optimize accordingly. - Optimize scripts, minimize the use of costly operations, and avoid unnecessary computations. - Use object pooling to reduce memory allocations and garbage collection overhead. - The importance of storytelling in games will be emphasized, including narrative structure, character development, and player engagement. - We will explore various storytelling techniques and discuss how Unity tools, such as timeline and cinemachine, can be used to create compelling narratives. - Integration of dialogue systems, cutscenes, and interactive storytelling elements using Unity scripting capabilities will also be covered. The Importance of Storytelling in Games 1. Immersion and Engagement - Storytelling creates an immersive experience by transporting players into rich and compelling game worlds. - Engaging narratives, memorable characters, and well-crafted story arcs capture players' attention and emotionally invest them in the game. 2. Emotional Connection - Stories evoke emotions and create a connection between players and the game world. - Emotional engagement enhances player enjoyment and makes the gaming experience more meaningful and memorable. 3. Context and Purpose - Storytelling provides a context and purpose for the player's actions, giving them a clear goal and direction. - A well-crafted narrative motivates players, making their actions and decisions within the game feel purposeful and relevant. 4. Player Agency and Impact - Stories can be designed to incorporate player agency, allowing them to make meaningful choices that shape the narrative and outcomes. - Giving players the power to influence the story creates a sense of ownership and empowerment, making their actions feel significant. 5. World Building and Lore - Stories in games contribute to world-building, establishing the lore, history, and mythology of the game universe. - Rich world-building enhances immersion and creates a sense of depth and authenticity within the game world. 6. Character Development - Well-developed characters with compelling backstories and personal arcs can evoke empathy, attachment, or even antagonism from players. - Character-driven narratives allow players to form emotional connections with the characters, driving their engagement and investment in the game. 7. Player Retention and Longevity - Engaging stories increase player retention, as players are driven to uncover what happens next or experience the resolution of the narrative. - A captivating story can motivate players to complete the game, explore additional content, or even revisit the game in the future. 8. Message and Themes - Games can convey messages, themes, or social commentary through storytelling. - Thoughtfully crafted narratives can address complex topics, provoke thought, and provide players with new perspectives and insights. Understanding the fundamental principles of game design is crucial for anyone interested in game development, regardless of the specific game engine they choose to work with. In this topic, we explored the core concepts of game mechanics, player experience, level design, and storytelling, and how they can be implemented effectively using Unity tools and features. Unity, as a versatile and widely-used game engine, provides a range of capabilities that align with these fundamental principles. We discussed how Unity scripting capabilities, physics engine, particle system, animation tools, input system, audio and visual effects, scene editor, timeline, cinemachine, and scripting capabilities can be utilized to create engaging and immersive gaming experiences. By leveraging Unity features, game developers can bring their ideas to life, implementing dynamic game mechanics, creating captivating player experiences, crafting well-designed levels, and telling compelling stories. The integration of Unity tools with the core principles of game design empowers developers to create unique and memorable games. However, it's important to note that while Unity offers a powerful framework, the success of a game ultimately depends on the creativity, innovation, and execution of the design itself. The understanding of game design principles discussed in this topic provides a solid foundation for developers to create games that captivate and entertain players. As you embark on your journey into game development with Unity, remember to continually explore and learn. The vast resources, community support, and extensive documentation will assist you in further enhancing your game design skills and leveraging the features in Unity to their fullest potential.

<urn:uuid:bab2b0a3-ed44-4203-beda-38ebbcca4b86>

CC-MAIN-2023-40

https://sharpcoderblog.com/blog/game-design-fundamentals

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510387.77/warc/CC-MAIN-20230928095004-20230928125004-00064.warc.gz

en

Transcript: Evidence of global warming Clearing forests also releases large amounts of carbon dioxide. On top of that, plants and trees use it to grow. Worldwide deforestation means we don’t have as many trees to absorb the extra carbon dioxide.This means more of it stays in the atmosphere, trapping more heat. One of the most immediate and obvious effects of global warming is the increase in temperatures around the world. The average global temperature has increased by about 1.4 degrees Fahrenheit (0.8 degrees Celsius) over the past 100 years, according to the National Oceanic and Atmospheric Administration (NOAA). Effects of global Warming Evidence of global warming Images of global warming Images of global warming Most climate scientists agree the main cause of the current global warming trend is human expansion of the "greenhouse effect"1 — warming that results when the atmosphere traps heat radiating from Earth toward space. Certain gases in the atmosphere block heat from escaping. Since 1970, the area of snow cover in the United States has steadily decreased, according to the EPA, and the average temperature of permafrost (soil that's at or below freezing temperature) has grown warmer.One of the most dramatic effects of global warming is the reduction in Arctic sea ice: In 2012, scientists saw the smallest amount of Arctic ice cover ever recorded. Most analyses project that, within a matter of years, the Arctic Sea will be completely ice-free during the summer months. Since record keeping began in 1895, the hottest year on record for the 48 contiguous U.S. states was 2012. Worldwide, 2012 was also the 10th-warmest year on record, according to NOAA. And nine of the warmest years on record have occurred since 2000. According to NOAA, 2013 tied with 2003 as the fourth warmest year globally since 1880. Detailed measurements of atmospheric carbon dioxide (CO2) levels have been taken continuously for more than 50 years. The data show that CO2 levels have steadily increased every year. Today they are 25 percent higher than in 1957.What's more, scientists have detailed records of past CO2 levels from ice core studies, which show that CO2 levels are higher today than at any point since our distant ancestors began migrating out of Africa 800,000 years ago. Causes of global warming The heat-trapping nature of carbon dioxide and other gases was demonstrated in the mid-19th century. There is no question that increased levels of greenhouse gases must cause the earth to warm. ice cores from greenland, antarctica shows that the earth reaponds to change in the greenhouse levels. Images of global warming Images of global warming Global warming is projected to have a number of effects on the oceans. Ongoing effects include rising sea levels due to thermal expansion and melting of glaciers and ice sheets, and warming of the ocean surface, leading to increased temperature stratification. Images of global warming Effects of global Warming Effects of global Warming Declining sea ice is one of the most visible signs of global warming on our planet. Since 1979, Arctic sea ice extent in September (when the annual minimum is reached) has declined by over 30 percent, according to the National Snow and Ice Data Center. The ice extent has been declining in other seasons, when its not supposed to. Evidence of global warming Effects of global Warming Evidence of global warming Extreme weather is an effect of global warming. While experiencing some of the hottest summers on record, much of the United States also has been experiencing colder than normal winters.Changes in climate can cause the jet stream to migrate south, bringing with it cold, Arctic air. This is why some states can have a sudden cold snap or colder than normal winter, even during the long-term trend of global warming. Causes of global warming Sea-level rise has been happening even faster than scientists anticipated a few years ago. If recent projections are accurate, 2-3°F warming could bring about 3 feet of global sea-level rise by 2100, displacing approximately 56 million people in 84 developing countries around the world. Effects of global Warming Climate change presentation Greenhouse gases are released into the atmosphere in many ways, including through the burning of fossil fuels (such as coal and petroleum) and by deforestation. As some environments warm (e.g. the Arctic tundra) they also release carbon that may have been stored for thousands of years. Quite simply, it hasn't. Even global surface temperatures (which is how Spencer is likely measuring 'global warming', although they only account for about 2% of the Earth's warming), have warmed about 0.2°C over the past 15 years, according to the best available measurements. Evidence of global warming Causes of global warming Transcript: photo credit Nasa / Goddard Space Flight Center / Reto Stöckli Climate Change: China has the largest absolute emissions in the world, contributing ~7 gigatonnes of carbon dioxide per year. In absolute terms we see that... ...But the EU-27, with emissions greater than India and Russia combined, constitute the world's third largest emitter, with 4 gigatonnes every year. The second largest emitter is the US, with 5.5 gigatonnes of CO2 emitted per year. So too does Russia, with comparable emissions... A little context on global contributions to climate change... India also makes significant contributions, amounting to just under two gigatonnes of CO2 per year. Any action in the developed world is futile in the face of Asian economic development: a case against. Transcript: Causes Effects It keeps the Earth's temperature at a comfortable level There is now more precipitationin the arctic because of climate change Member Greenhouse Effect Advantage Tempertures have rose up by about 2 degrees some regions of the acrtic The greenhouse effect is given this name because the effect is similar like in a greenhouse; the heat from the sun is trapped inside by the glass the greenhouse gases have the same property as the glass, infrared radiation cannot pass through them Rising sea levels also shows that there has been change in the Earth's climate Nancy Duong, Sammy Schwab, Ammi Jani Anthropogenic Greenhouse Effect Disadvantages The greenhouse effect is what keeps the heat trapped inside Earth to support life on Earth Without the greenhouse effect, the temperature would drop from 14°C to –18°C Climate Change man-made greenhouse gases; the burning of fossil fuels, can increase the concentration and Earth's temperature If the temperature increases, natural disasters can occur and also the temperature can become unlivable Glaciers are very sensitive to climate change, they can shrink and grow at very fast paces. The Arctic has the most evidence that climate has under gone a significant change (cc) photo by theaucitron on Flickr Transcript: Off the western coast of the continent Europe lies the United Kingdom, a country made up of both Northern Ireland and Great Britain. This country, which is a combination of islands, is in the eastern Atlantic Ocean. The United Kingdom is English speaking, and ruled under Queen Elizabeth II. These charts, which show the average temperatures and precipitations in the year 1990, give the approximate rainfall per year to be 12 degree Celsius per month, and the precipitation to be 8 days a month, or 567 mm in the year. Severe weather patterns have been occurring constantly throughout the years, as many instances have been recorded equally between 1990 and 2012. Impacts of Climate Change in the Region Current Climate Information Like any other country, the United Kingdom is affected everyday from differences in climate, whether in temperature, precipitation, or in storms. As both the average temperature and precipitation increases, which is proven in the previous slides, this country not only undergoes a rise in sea level and heat, but a change in humidity, and flooding. As more water both comes in and is evaporated by heat, humidity stretches over the United Kingdom to cause effects on plant growth, and surface temperature. As crops decrease, so then does food for livestock, causing a lack of food for both the animal and people. Heat then also brings an environment for unwanted bugs or pests to succeed in, such as the flea, mosquito, and cockroach, who may all cause disease. Tropical storms, which may build from the wind of the ocean, are also affected by climate change on the coasts of the country as evaporation and high waves causes a swirl by the wind which could lead to tornado or hurricane. United Kingdom Climate Change These graphs, which explain the average temperature and precipitation patterns for the United Kingdom in 2012, are ways in which to explain the weather. In terms of temperature, an average of 14 degrees Celsius occurred per month, while 588 mm was the average rainfall in the year. Both records differ throughout the months, however remain approximately in the same range. Severe weather patterns also effect the United Kingdom, as each month may bring a new storm. Although storms may sometimes be unexpected, this gives no regular times for weather to come, yet the waters which surround the country bring constant fear for tropical storms such as tornadoes or hurricanes in the summer months. Summary In summary to my findings, I have realized that over a period of 12 years, temperature patterns have increased by 2 degrees per month, while precipitation patterns have increased by 24 mm per year. Throughout the years, however, tropical storms and weather have remained a common happening within the country. Many different problems can be affected by climate change, such as lack of crop growth for both people and livestock, a weather for pests to succeed in, flooding, sea level rise, and many others. Over time, these may cause huge affects on the planet as climate change increasing becomes a worse problem. Although somethings may be out of the human population's hands, small changes can be made to slowly deteriorate climate change. These could be transportation means, recycling and garbage, or pollution through factories and manufacturing. Together, as both smoke and polluted extract reaches the atmosphere, causes in temperature can be made which affect our planet. As a population, alterations can easily be set forth to both achieve and successfully reach a goal to control climate change. Past Climate Information Location of the United Kingdom Transcript: Engaging Citizens in reducing the carbon footprint of BC communities Long Term Thinking Broad in scope co-ordinated across community collaborative networks through community a "living" plan target and track results Results of competitions support community goals and and - calculators + validation process PERSONAL efforts by citizens elders citizen accounts - personal inputs to system club accounts - club inputs challenge accounts - terms of challenges Pacific Institute For Climate Solutions Cap and Trade Revenue Competition as motivator make it fun Use existing facilitators who know community accurate metrics User-friendly! FUN Bottom-up Community Development Expanded - online challenge admin system -- sets goals -- creates metrics -- provides facilitation Engage & support existing community networks Expertise "Smart Planning for Communities" many data sets disaggregated by community - priorities, citizen dialogue + voting Existing Networks Government: Our system supports Interactive monitoring of results relevant narratives from users to share ideas organized by concepts & 'hood build in useful apps & calculators & display results to communities "Social Mobilization Workshop Report" not PERFECTION experts Apartment building residents high school teams soccer moms company employees Contests neighbourhoods Motivate common Community * data visualized & interactive * interactive maps * data with narratives Brainstorming: Project Design - node view supports social infrastructure provides resources We'd love to develop a detailed proposal for the Climate Action Secretariat software designed for community engagement Competition among similar entities: employees of Bank "A" challenge those of Bank "B" would contribute to improve Goal publicity, success stories competition stories provide special access to data & stories insures inclusivity for all prizes, recognition initially "priming the pump" are our team has the facilitate networking Community "A" challenges others tracking tool keeps track of entity in multiple competitions validation process authenticates individual efforts semantic framework We have the right stuff! activities credible metrics more calculators wider tracking public to add ideas Inspire Grass Roots solutions Citizen engagement Individual efforts may be small but... citzens of their communities united interest creation of coefficients is a key task Climate Change Data Catalogue - citizens stories about experiences inspired new solutions engage everyone Narratives results reports and analysis Community Facilitation Inspired diverse Green commuter challenge i.e. Parks & Rec staff... pay an honorarium many new everyday tasks Get support of local media social mobilization can add up! Local Media to report on successes prize is recognition focus all on a Fraser Basin Council aggregate individuals' efforts Method: such benefit will cap Trade learn If proposed methods can be proven Community Facilitators support of community media in context of community goals Participants Facilitators develop "entity competitions" Competitions Transcript: While the Earth's Temperature rises naturally, humans are helping it, and making it worse. We have added a lot of green house gasses to our atmosphere, helping the temperature of the earth rise. Conclusion One major affect of global climate change, is the melting of the glaciers. The melting of these glaciers will affect the lives of animals, and also cause a rise in ocean water, creating floods. This will ruin many peoples homes, and lives. The melting of the glaciers become more noticeable as time passed. The earth started getting warmer, melting the glaciers. 1. The rising temperatures of the earth will have a direct affect on me. 2. The rising temperatures make the El Nino and la Nina years worse. An El Nino year is when parts of the ocean are hotter than normal, an El Nino year is when parts of the ocean are colder. 3. Climate change makes these years worse, affecting the weather and climate of where I live. 1. Studies have shown that the glaciers have been melting since 1850. 2. Currently, all glaciers are showing less mass than they have been before, and are melting. Data There is another aspect of climate change, though it wont directly affect me, I'm still concerned about Data Background Information Climate Change presentation By Courtney Douglas Climate Change Will Have a Direct Impact on My Life 1. The glacier cover on Mount Kilimanjaro has retreated 75%. 2. The volume of the glacier is now 80% less than it was a century ago. Conclusion Global climate change is a real issue, caused by real people, that needs real attention. If we continue to ignore the dangerous side affects of the global climate change, things could be very dangerous for humans, plants, animals, and the earth itself. People must be made aware, so that things can change, and life can become healthier. 1. Rising levels of CO2 in the atmosphere is dangerous for everything and everyone. 2. Rising CO2 are causing many health issues for people and even loss of life, for some. 3. Rising CO2 levels are causing our atmosphere to deplete. 4. Rising CO2 levels are causing harm to plants and animals. Background Information The glaciers are melting because of global climate change. The earth is warming because of our actions, and the glaciers melting is a consequence. There is documented proof of their melting since 1850. The melting of these glaciers will cause a loss of life, homes, fresh water that is available, and mountain climbing/viewing.. Date The earth is 5x warmer now, than it was a century ago. It is estimated that in 2036, earth will reach her boiling point... The earth's temperature has lowered 1.4 degrees since 1850. Date Transcript: Deforestation and the destruction of rainforests have a huge affect on climate change. Trees absorb CO2 from the air as they grow. Using energy from the sun, they turn the carbon captured from the CO2 molecules into building blocks for their trunks, branches and foliage. This is all part of the carbon cycle. A mature forest doesn't necessarily absorb much more CO2 that it releases, however, because when each tree dies it either rots down or is burned, much of its stored carbon is released once again. In other words, Human activities contribute to climate change by causing changes in the Earth's atmosphere in the amount of greenhouse gases, small particles and cloudiness. Greenhouse gases and aerosols (small particles) affect climate change by changing incoming solar radiation and out going infrared radiation that are part of Earth’s energy balance. Changing the properties of these gases and particles can lead to a warming or cooling of the climate system. Human Causes How do humans affect climate change? When humans burn gasoline, coal, natural gas, and other common fuels to make electricity or drive cars, they release a large amount of carbon dioxide into the atmosphere. For every gallon (or liter) of gasoline your car burns, 1300 times that volume of CO2 is released (a gallon of gas weighs about 6 pounds or 2.8 kilograms, but the released CO2 would weigh over 19 pounds or 8.75 kilograms). Climate Change talking about climate change, the most important thing about CO2 levels. - Pollution created by human activities - Carbon dioxide and other pollutants Other ways humans impact climate change Climate change has already had noticeable effects on the environment. Glaciers have shrunk, ice on rivers and lakes are breaking up earlier than suppose to, plant and animal ranges have shifted and trees are flowering sooner. Effects that scientists had predicted in the past would result from climate change are now occurring: loss of sea ice, accelerated sea level rise and longer, more intense heat waves. Decreased water resources in many semi-arid areas, including western U.S. and Mediterranean basin, increased frequency of hot extremes, heat waves and heavy precipitation, precipitation increases in high latitudes and precipitation decreases in subtropical land regions all have a high certainty on occurring in the future due to scientists predicaments. By: Nikolas and Rebecca Greenhouses: References: result from the burning of coal to All of the next three slides/ photos shown on your left focus on the adverse effects of climate change that have already happened or have a high risk of happening in the future. What can we do to help? produce electricity. As individuals we could help fix climate change by recycling, driving less, car pooling, using less water than what's needed for you and using less energy. As a society we could organize a protest on parliament where a group of people go and give their opinion on climate change and what we could do to help. forests is not that they reduce the amount of CO2 in the air but that they are huge reservoirs of stored carbon. If such a forest is burned or cleared then much of that carbon is released back into the atmosphere, adding to atmospheric Human Activities: Since the start of the industrial era (about 1750), the overall effect of human activities on climate change has been a warming influence. The human impact on climate during this era exceeds largely that due to known changes in natural action, such as solar changes and volcanic eruptions. Adverse Effects on Climate Change - Electricity generated at power plants is carried by power lines to users, sometimes hundreds of miles away. becoming worse. Conclusion Cars affecting climate change: Forest and Forestry: In conclusion, humans have a high impact on climate change and how our environment is till this day. Also, the harmful affects on climate change for the future are very high on our climate Continuation from last slide: http://www.ipcc.ch/publications_and_data/publications_and_data_reports.shtml#.Ut2eXHn0B1M http://ncse.com/climate/climate-change-101/how-much-human-responsibility-for-climate-change http://climate.nasa.gov/effects https://docs.google.com/a/ocsb.ca/viewer?a=v&pid=sites&srcid=ZGVmYXVsdGRvbWFpbnxtYXRobWFuaGVyYnl8Z3g6MjE3YTRkNTgxOGI2MWQ0OQ Transcript: BORING TITLE FOR AN EXCITING TALK ABOUT CLIMATE CHANGE WHO KNOWS WHAT CLIMATE CHANGE IS? IT IS... The Goldilocks Effect Climate change refers to a change in the state of the climate that can be identified (e.g., by using statistical tests) by changes in the mean and/or the variability of its properties, and that persists for an extended period, typically decades or longer. Climate change may be due to natural internal processes or external forcings, or to persistent anthropogenic changes in the composition of the atmosphere or in land use. Just how warm...? 3-5° F by 2050 Just how high? 7-12 inches by 2050 Populus sp. All images courtesy of Estelle Levetin except Fagus sp. (ssb.plymouth.ac.uk) Ambrosia sp. Venus 863° Betula sp. Ulmus sp. Mars -82° Acer sp. BRIAN KAHN JULIE ARRIGHI CYNTHIA THOMSON Fraxinus sp. Fagus sp. Platanus sp. Quercus sp. Carya sp. Poaceae Earth 58° http://j.mp/MarchHeatwave Description: The sky’s the limit. Boost your new sales initiative into orbit with an engaging and compelling SKO presentation. This template features a effective sales kickoff theme that makes it easy to be engaging. Like all Prezi SKO templates, it’s fully customizable with your own information. Description: Add some color to your quarterly business review with this vibrant business presentation template. The bold visuals in this business template will make your next QBR a memorable one. Description: Storytelling is at the heart of great service. Use this stunning, customizable business presentation template to highlight employees who do exceptional work or position your customers as the heroes of your business. Description: Catch the eye and engage the imagination with this cool-looking Prezi proposal template. The bold, bright design and highly dynamic theme all but guarantee success for your next sales or marketing proposal. All Prezi presentation templates are easily customized. Now you can make any subject more engaging and memorable

<urn:uuid:5ab79b74-34b7-446b-9d16-38d56a9fc86f>

CC-MAIN-2023-40

https://prezi.com/l/climate-change-powerpoint-presentation-template/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510284.49/warc/CC-MAIN-20230927071345-20230927101345-00264.warc.gz

en

Traditional practices in Habashi hold a significant place in the cultural heritage and customs of this community. These ancient traditions have been passed down from generation to generation, shaping the identity of the people and fostering a sense of belonging. One example that illustrates the importance of traditional practices is the annual Habashi Festival. During this event, members of the community come together to celebrate their shared history and showcase various aspects of their culture, including music, dance, crafts, and food. The preservation of these traditional practices is crucial for several reasons. Firstly, they serve as a window into the rich history and cultural diversity of Habashi society. Through participating in these practices, individuals gain a deeper understanding and appreciation for their roots, strengthening social cohesion within the community. Secondly, traditional practices provide an opportunity for intergenerational knowledge transfer. Older members pass on their skills and wisdom to younger generations, ensuring that these customs are kept alive for years to come. Lastly, these traditions foster a sense of pride amongst Habashi people by showcasing their unique cultural heritage both locally and globally. In this article, we will delve into some key aspects of traditional practices in Habashi society. We will explore ceremonial rituals, such as weddings or religious festivities; artistic expressions through music and dance; culinary culinary traditions that showcase the flavors and techniques unique to Habashi cuisine; and craftsmanship, including traditional clothing, jewelry making, and pottery. Ceremonial rituals hold a special place in Habashi culture. Weddings, for example, are celebrated with elaborate traditions that vary from region to region. These rituals often involve intricate ceremonies, such as henna painting on the bride’s hands or a procession of family and friends singing traditional songs. Religious festivities also play a significant role in the community, with practices like prayer gatherings, fasting during Ramadan, and commemorating religious holidays. Artistic expressions through music and dance are an integral part of Habashi cultural practices. Music holds deep significance and is often used to convey stories of love, struggles, or historical events. Traditional instruments like the masenqo (a single-stringed bowed instrument) or the kebero (a drum) are commonly used during performances. Dance forms range from energetic group dances performed during festivals to graceful solo performances showcasing intricate footwork and expressive movements. Culinary traditions in Habashi society reflect not only their regional flavors but also their close connection to nature and agriculture. Staple ingredients like teff flour (used to make injera – a sourdough flatbread), lentils, chickpeas, and various spices form the foundation of many dishes. Cooking techniques such as slow simmering stews or grilling over open flames add depth of flavor to meals. Sharing food is considered an important social bond in the community, with communal meals bringing families together during celebrations or gatherings. Craftsmanship is another vital aspect of traditional practices in Habashi society. Skilled artisans create beautiful traditional clothing using vibrant colors and intricate patterns that reflect their regional identity. Jewelry making showcases delicate beadwork or metalwork inspired by nature or cultural symbols. Pottery making involves shaping clay into functional vessels adorned with unique designs passed down through generations. Preserving these traditional practices requires a collective effort from the community, local organizations, and government support. Initiatives such as cultural festivals, workshops, and educational programs can help raise awareness and encourage participation in these customs. By embracing their traditional practices, Habashi people can continue to celebrate their heritage and ensure that these valuable traditions are passed on to future generations. One of the most fascinating aspects of Habashi culture is its rich array of ancient ceremonies. These rituals have been passed down through generations, serving as a vital link to our cultural heritage. For instance, let us consider the traditional wedding ceremony in Habashi society. This elaborate event showcases not only the union between two individuals but also the deep-rooted customs and values that form an integral part of our identity. Within this ceremonial context, several key elements can be identified that contribute to the uniqueness and significance of these traditions: - Symbolic gestures: One noteworthy aspect of Habashi ceremonies is the emphasis on symbolic gestures. During weddings, for example, couples exchange rings as a symbol of their commitment and wear traditional garments adorned with intricate patterns representing prosperity and fertility. - Traditional music and dance: Music and dance play a pivotal role in connecting people to their cultural roots during these celebrations. The rhythmic beats of drums echo throughout the venue as guests engage in lively dances that date back centuries. - Culinary delights: Food holds immense importance in Habashi culture, particularly during festive occasions. Elaborate feasts are prepared, showcasing a wide range of traditional dishes such as injera (a sourdough flatbread) served alongside delectable stews and flavorful spices. - Community participation: Ancient ceremonies serve not only as family affairs but also as community events where everyone plays a crucial role. From elders sharing wisdom through storytelling sessions to youngsters learning traditional songs from older generations, these ceremonies foster unity among community members. To further illustrate the captivating nature of these ancient practices within Habashi society, we present below a snapshot table highlighting some notable ceremonies: |Coming-of-age||Marking transition into adulthood||2 days| |Harvest festival||Celebrating bountiful harvests||1 week| |Ancestral homage||Honoring and remembering ancestors||1 day| |New Year celebration||Welcoming the year ahead||3 days| These ceremonies are not mere remnants of a bygone era; they continue to hold immense cultural significance in our modern lives. By preserving and actively participating in these traditions, we ensure that future generations will also have the opportunity to experience the beauty and depth of their heritage. Transitioning into the subsequent section about “Preserving Our Heritage,” it is crucial for us to recognize that safeguarding these ancient practices requires a collective effort from all members of society. Preserving Our Heritage Ancient Ceremonies: A Window into the Past As we delve deeper into the cultural heritage of Habashi, it becomes evident that Ancient Ceremonies hold a significant place in preserving our customs and traditions. These ceremonial practices offer a unique insight into the rich history of this region and serve as a means to connect with our ancestors. One such example is the age-old ritual known as “The Harvest Dance,” which continues to be celebrated annually by local communities. This vibrant ceremony showcases the unity and resilience of the people of Habashi. It begins with an elaborate procession through the village streets, led by musicians playing traditional instruments such as drums and flutes. The villagers, adorned in colorful attire representing different aspects of their culture, join hands and form circles as they move rhythmically to the beat of the music. This dance symbolizes gratitude for bountiful harvests and invokes blessings for future prosperity. To further illustrate the significance of these ancient ceremonies, let us explore some key elements commonly found within them: - Ritualistic Offerings: Participants make offerings to deities or spirits believed to protect their land and crops. - Symbolic Gestures: Various hand movements, body postures, or facial expressions convey specific meanings embedded in folklore. - Sacred Objects: Items like masks, amulets, or sacred artifacts are used during ceremonies to invoke spiritual connections. - Communal Participation: Ancient ceremonies emphasize community involvement, fostering a sense of collective identity among participants. By integrating these elements into their daily lives, Habashi communities ensure that their cultural heritage remains alive and cherished from generation to generation. |Music||Unifies individuals regardless of age or social status| |Dance||Expresses emotions deeply rooted in cultural beliefs| |Costumes||Reinforces individual identities while celebrating ancestral roots| |Food||Enhances communal bonding through shared culinary experiences| These elements and their significance highlight the emotional impact of ancient ceremonies on Habashi society. They serve as a reminder of our ancestors’ wisdom, fostering pride in our cultural heritage. As we move forward in exploring the traditions of Habashi, it is important to acknowledge another significant aspect: passing down stories. These narratives play a fundamental role in preserving our customs by transmitting knowledge from one generation to the next. Through storytelling, we continue to honor our past while shaping the identity of future generations who will carry this legacy forward. [Transition into subsequent section about “Passing Down Stories”: With an understanding of the importance of these ancient ceremonies, let us now delve into how stories weave together the fabric of Habashi culture.] Passing Down Stories Building on the importance of preserving our cultural heritage, we now turn our attention to the practice of passing down stories in Habashi. Through storytelling, the rich traditions and customs are transmitted from one generation to another, ensuring their longevity within the community. Stories have always been a powerful means of conveying knowledge and values. Just imagine a young child sitting cross-legged around a bonfire, captivated by an elder’s tale about heroes who overcame adversity or mythical creatures that roamed the land. These narratives not only entertain but also serve as vehicles for teaching important life lessons and instilling moral values. One example is the story of “The Weaver’s Journey,” which teaches perseverance through its protagonist’s determination to create a masterpiece despite numerous obstacles. To further understand the significance of storytelling in Habashi culture, let us explore some key aspects: - Oral Tradition: In Habashi society, stories have primarily been passed down orally from one generation to another. This oral tradition ensures that each rendition carries with it the unique nuances and personal touches of every storyteller. - Cultural Identity: Stories play a crucial role in defining and reinforcing cultural identity among Habashi individuals. By listening to tales deeply rooted in their heritage, community members develop a sense of belonging and pride. - Moral Guidance: Traditional stories often contain valuable moral lessons that guide behavior and decision-making within the community. They emphasize concepts such as respect for elders, kindness towards others, and environmental stewardship. - Intergenerational Bonding: Storytelling provides an avenue for intergenerational bonding within families and communities. It fosters connections between older generations sharing their wisdom and younger ones eager to learn about their roots. |Oral Tradition||Transmission of stories through spoken word| |Cultural Identity||Reinforcement of shared heritage| |Moral Guidance||Teaching important life lessons and values| |Intergenerational Bonding||Strengthening relationships between different generations through storytelling| In conclusion, the tradition of Passing Down Stories in Habashi culture plays a vital role in preserving and perpetuating cultural heritage. Through these narratives, important life lessons are imparted, cultural identity is reinforced, and intergenerational bonds are strengthened. As we delve deeper into the beliefs and customs of Habashi society, let us explore how these stories intertwine with their everyday practices. With an understanding of the significance of storytelling established, we now turn our attention to exploring the beliefs and customs that shape the fabric of Habashi community life. Beliefs and Customs The tradition of passing down stories has long been an integral part of Habashi culture. Through storytelling, the rich history and values of the community are preserved and transmitted to future generations. One example that exemplifies this practice is the story of Amina, a young girl who embarked on a journey to find her place in the world. This tale serves as a metaphor for self-discovery and resilience, emphasizing the importance of determination and perseverance. To fully comprehend the significance of storytelling in Habashi society, it is essential to explore some key reasons why this practice continues to thrive: - Cultural Preservation: Storytelling acts as a vessel for preserving cultural heritage by keeping traditions alive. It ensures that customs, language, and historical events are not forgotten but rather celebrated through narratives passed from one generation to another. - Moral Education: Folktales often contain moral lessons or ethical teachings that shape individuals’ character and behavior within the community. By imparting these valuable life lessons through storytelling, elders guide younger members toward responsible citizenship. - Sense of Identity: The act of listening to stories strengthens people’s connection with their roots and fosters a sense of belonging within the community. These tales provide insight into shared experiences, struggles, triumphs, and collective aspirations. - Emotional Resonance: Stories have a unique ability to evoke deep emotions in listeners. They can elicit empathy, compassion, joy, or sadness—allowing individuals to engage emotionally with their cultural heritage. |Emotions Evoked by Traditional Storytelling| In conclusion, storytelling plays an indispensable role in preserving Habashi culture by transmitting knowledge from one generation to another while fostering a sense of identity among community members. As we delve further into exploring traditional practices in Habashi society, we will now turn our attention to the significance of beliefs and customs. [Dressing Up in Heritage] Dressing Up in Heritage Beliefs and Customs in Habashi hold a significant place in the cultural heritage of this community. These practices are deeply rooted in their history, traditions, and values. Understanding these beliefs and customs allows for a deeper appreciation of the rich cultural tapestry that defines Habashi society. One fascinating example of traditional practices is the belief in ancestral spirits. Many people in Habashi believe that their ancestors continue to exist as spirits after death and play an active role in their lives. This belief forms the foundation for various customs such as ancestor worship, where individuals offer prayers and offerings to honor their departed loved ones. For instance, during important family gatherings or celebrations, it is common to set up small altars dedicated to deceased relatives, adorned with photographs and symbolic items they cherished in life. To further explore the range of traditional practices found within Habashi culture, let us consider some prominent examples: - Rituals associated with agricultural activities: The agrarian nature of Habashi society has shaped its customs around farming. Special ceremonies are performed at different stages of cultivation, from sowing seeds to harvesting crops. These rituals aim to seek blessings from deities or spirits believed to govern bountiful harvests. - Ceremonies marking major life events: Births, marriages, and deaths are pivotal moments in any society. In Habashi culture, elaborate ceremonies surround these milestones. Each event carries specific rituals designed to bring good fortune, foster unity among family members, and pay homage to tradition. - Spiritual healing practices: Traditional healers play a crucial role in addressing illnesses both physical and spiritual. They employ various methods such as herbal remedies, incantations, massages, or energy healing techniques tailored to individual needs. These examples provide insights into how beliefs and customs shape daily life in Habashi communities while preserving their unique cultural identity. |Life Event Ceremonies||Unity| |Spiritual Healing Practices||Hope| In conclusion, the beliefs and customs found in Habashi culture are deeply ingrained and serve as a testament to their vibrant heritage. These practices not only provide guidance for individual lives but also foster a sense of communal unity. Understanding these traditions is vital in appreciating the cultural richness that defines this community. Moving forward, we delve into another essential aspect of Habashi traditional practices: Sacred Rituals. These rituals hold immense significance within the community, serving as key elements in various ceremonies and celebrations. Dressing up in traditional attire is not only a way to express one’s cultural identity but also serves as a significant marker of heritage in Habashi. The people of this region take immense pride in preserving their traditional practices, including the art of dressing. This section delves into the various aspects associated with traditional attire and its role in sustaining cultural heritage. One example that exemplifies the importance of traditional dress can be found in the case of Fatima, a young woman from a rural village in Habashi. Every year during the festival of harvest, she meticulously sews her own handcrafted garments using locally sourced materials. Adorned with vibrant patterns and intricate embroidery, these garments hold deep significance for Fatima and symbolize her connection to her ancestors. The act of dressing up in traditional attire carries multiple layers of meaning within Habashi culture. To better understand its significance, consider the following bullet points: - Traditional clothing reflects an individual’s social status and community affiliation. - It fosters a sense of belonging and unity among community members. - Wearing traditional attire serves as a visual representation of cultural resilience. - It helps preserve ancestral knowledge by passing down techniques through generations. To further explore this topic, let us examine a table outlining different elements commonly found in traditional Habashi attire: |Embroidery||Intricate threadwork embellishments||Celebrating craftsmanship| |Colors||Vibrant hues representing natural beauty||Expressing joy and vitality| |Accessories||Handmade jewelry and adornments||Enhancing personal style| |Fabrics||Locally sourced materials like cotton||Honoring regional resources| Understanding the significance behind each element provides valuable insights into how tradition intertwines with everyday life in Habashi society. As we delve deeper into the customs and traditions prevalent in Habashi, the next section will explore sacred rituals that hold great importance within the community. These rituals are deeply rooted in spiritual beliefs and serve as a means of connecting with ancestral wisdom. The sacred rituals of the Habashi people are deeply intertwined with their ancestral wisdom, which has been passed down through generations. These customs serve as a testament to the rich cultural heritage that defines the community’s identity. One compelling example of this ancestral wisdom can be found in the practice of communal storytelling. In gatherings around bonfires or during special occasions, elders share captivating tales that not only entertain but also transmit important life lessons and values. Through these stories, younger members of the community gain insights into their history, traditions, and moral codes. This oral tradition fosters a strong sense of belonging and reinforces cultural continuity within the Habashi society. To better understand the significance of ancestral wisdom among the Habashi, let us explore some key aspects: - Intergenerational Knowledge Transfer: The passing down of traditional practices from one generation to another ensures that valuable skills and techniques are preserved over time. - Connection to Nature: Ancestral wisdom emphasizes an intimate relationship with nature. It encourages sustainable practices and teaches respect for the environment. - Preservation of Cultural Identity: By upholding ancient customs and beliefs, Habashi people maintain a distinct cultural identity while adapting to modern changes. - Fostering Unity: Ancestral wisdom creates a shared experience among community members, promoting unity and cooperation. These aspects highlight how ancestral wisdom serves as an essential pillar in preserving Habashi culture and nurturing social cohesion. |Intergenerational||Preserving valuable knowledge| |Connection||Nurturing environmental consciousness| |Preservation||Maintaining cultural identity| |Fostering||Promoting unity among community members| Moving forward, we will delve deeper into the intriguing realm of mysterious beliefs held by the Habashi people. Their mystical worldview sheds light on their unique understanding of spirituality and the supernatural, offering captivating insights into their cultural fabric. Let us embark on this fascinating journey together. Having explored the profound ancestral wisdom that shapes the cultural fabric of Habashi, we now delve into the intriguing realm of mysterious beliefs. These beliefs, steeped in tradition and passed down through generations, provide fascinating insights into the customs and rituals practiced by the people of Habashi. To illustrate this world of mysterious beliefs, let us consider an example rooted in ancient folklore. Legend has it that when a lunar eclipse occurs over Habashi, it is believed to be a celestial battle between two powerful spirits—a benevolent spirit representing light and purity, and a malevolent one symbolizing darkness and chaos. The locals gather together during these events, performing sacred rituals to help tip the scales towards the positive forces. This unique belief showcases not only their deep connection with nature but also their strong faith in supernatural powers. Within this rich tapestry of cultural heritage, there are several key practices that deserve attention: - Animals such as goats or chickens are sacrificed during specific occasions. - It symbolizes gratitude towards higher beings for blessings received. - The meat is often shared among community members, fostering unity and harmony. - Various divination methods like palmistry, reading tea leaves, or interpreting dreams are widely practiced. - They offer individuals guidance on matters ranging from personal relationships to major life decisions. - This reflects a reliance on spiritual insight alongside practical considerations. - Shamans play a vital role in healing ceremonies within Habashi culture. - Through chants, dance, and herbal remedies, they channel divine energy to restore physical and mental well-being. - These ceremonies exemplify a holistic approach to health, emphasizing the interconnectedness of mind, body, and spirit. Talismans and Amulets: - The use of talismans and amulets is prevalent in Habashi society. - These objects are believed to ward off evil spirits or bring good fortune. - They serve as a source of comfort and protection for individuals in their daily lives. In understanding these mysterious beliefs, it becomes apparent that they serve not only religious or superstitious purposes but also provide a sense of identity and belonging to the people of Habashi. Through shared practices, values, and customs, communities cultivate unity and resilience while preserving their Cultural Heritage. Transition into the subsequent section about “Cultural Values in Actions”: These enigmatic beliefs form an integral part of Habashi’s cultural tapestry. However, it is through observing the tangible manifestations of these values in everyday actions that we gain a deeper appreciation for the profound impact they have on individual lives and community dynamics. Cultural Values in Actions Building upon the mysterious beliefs held by the people of Habashi, this section delves into their cultural values and how they are expressed through various actions. By exploring these practices, we gain insight into the rich tapestry of traditions that define the community. One remarkable example that exemplifies the cultural values of the Habashi people is their strong emphasis on communal harmony. This value becomes evident during annual harvest festivals where everyone comes together to celebrate a successful year of farming. The festival serves as a unifying event, fostering neighborly bonds and promoting cooperation among all members of the community. To further understand the ways in which cultural values manifest in everyday life, it is helpful to consider specific customs observed by the Habashi people: - Gift-giving: The act of giving gifts holds significant importance in Habashi culture. It symbolizes respect, appreciation, and strengthens interpersonal relationships within families and communities. - Hospitality: Welcoming guests with open arms is deeply ingrained in Habashi society. Guests are treated with utmost kindness and generosity, often offered traditional meals prepared with love and care. - Respect for elders: In Habashi culture, elders hold a revered status as bearers of wisdom and experience. They are accorded great respect and consulted for guidance on important matters. - Oral storytelling: Passing down stories orally from generation to generation plays a vital role in preserving history, conveying moral lessons, and strengthening social connections within the community. Table – Traditional Practices Within Habashi Culture |Harvest Festival||An annual celebration marking a bountiful harvest season||Promotes unity and cooperation among community members| |Gift-giving||Act of presenting gifts to express respect, appreciation, and strengthen relationships||Enhances interpersonal bonds within families and communities| |Hospitality||Warmly welcoming guests by offering traditional meals with generosity||Demonstrates kindness while fostering strong social connections| |Oral storytelling||Sharing stories orally to preserve history, convey moral lessons, and enhance social ties||Serves as a means of cultural preservation and intergenerational bonding| These practices highlight the core values cherished by the Habashi people – unity, respect, generosity, and preservation of their rich heritage. Through these customs, individuals are reminded of the importance of collective well-being and maintaining strong social ties. Understanding the cultural values that underpin Habashi society allows us to delve deeper into the unspoken rules that govern their everyday interactions. The subsequent section will explore these subtle nuances in behavior and shed light on the intricacies that shape Habashi culture without explicitly stating “step.” As highlighted in the previous section, Habashi society places great emphasis on cultural values and customs. These values are deeply ingrained in everyday actions and interactions, shaping the way people behave and perceive their roles within the community. To further understand this dynamic, let us consider an example of how these cultural values manifest in a hypothetical scenario. Imagine a young individual from the Habashi community who is preparing to attend a traditional wedding ceremony. In this context, various cultural practices come into play that reflect the importance placed on family bonds, respect for elders, and communal harmony. Firstly, it is customary for individuals attending such events to arrive punctually as a sign of respect towards the hosts and other guests. Additionally, it is expected that attendees will dress modestly and wear Traditional Garments to celebrate their heritage. To delve deeper into the significance of these cultural values in action, we can explore some key aspects: - Familial Unity: The concept of extended family holds immense value in Habashi culture. Family members often collaborate closely during special occasions like weddings or religious festivals, contributing time, effort, and resources to ensure successful celebrations. - Respect for Elders: Within Habashi society, showing reverence towards older generations is considered vital. Younger individuals demonstrate respect by seeking guidance from elders and actively participating in familial rituals where wisdom and experience are shared. - Community Solidarity: Communal cohesion plays an essential role in maintaining social harmony within Habashi communities. By practicing traditions collectively, individuals foster a sense of belongingness while reinforcing intergenerational ties. - Preservation of Cultural Identity: Traditional practices not only serve as a means of upholding cultural heritage but also act as reminders of shared history and identity among Habashi people. The following table illustrates how these cultural values translate into specific actions: |Cultural Value||Action Taken| |Familial Unity||Collaborative wedding planning| |Respect for Elders||Seeking advice from older family members| |Community Solidarity||Participating in communal rituals| |Preservation of Cultural Identity||Wearing traditional garments| By embodying these cultural values through their actions, Habashi individuals contribute to the preservation and perpetuation of their rich heritage. Transitioning into the subsequent section on ‘Traditional Garments,’ we can explore how clothing choices hold symbolic significance within Habashi culture. This aspect further reflects the community’s commitment to preserving its traditions while embracing modernity. Traditional Practices in Habashi: Cultural Heritage and Customs Unspoken Rules shed light on the intricacies of social conduct in Habashi, but it is equally important to examine the role that traditional garments play in preserving cultural heritage. The clothing worn by individuals not only reflects their personal style but also serves as a symbol of identity and tradition. This section explores the significance of traditional garments within the context of Habashi society. To illustrate the impact of traditional garments, consider the case of Fatima, a young woman living in a rural village in Habashi. Despite being exposed to modern fashion trends through media channels, she chooses to adhere to her community’s traditional dress code. By wearing colorful embroidered dresses paired with vibrant headscarves, Fatima proudly exhibits her cultural heritage and expresses her belongingness to her community. Her choice to embrace these traditional garments becomes an example for others who may be tempted by Western influences, highlighting the resilience of local customs. When examining traditional garments in Habashi society, several key aspects come into focus: - Preservation of Identity: Traditional clothing allows individuals to connect with their roots and preserve their unique cultural identity. It serves as a visual representation of one’s ethnic background, religious beliefs, and societal values. - Symbolism: Each element incorporated into traditional attire carries symbolic meaning. Colors represent different emotions or life stages, while patterns can signify marital status or regional affiliation. - Sense of Belonging: Wearing traditional garments fosters a sense of unity among members of the community, creating a shared bond based on common history and traditions. - Passing Down Traditions: Through generations, the practice of donning traditional clothing has been passed down as part of oral traditions and family rituals—keeping alive age-old practices. The following table exemplifies how specific elements within traditional garments convey distinct meanings: |Color||Red – Passion and celebration| |Blue – Tranquility and spirituality| |Green – Prosperity and fertility| |Pattern||Zigzag – Protection from evil| |Floral – Symbol of nature| |Geometric – Representing unity| |Accessory||Silver coins – Wealth and prosperity| |Beads – Ward off negative energy| In conclusion, traditional garments in Habashi society serve as a means to preserve cultural heritage while providing individuals with a sense of identity and belonging. Through the case study of Fatima, we see how embracing traditional clothing can inspire others to cherish their customs amidst modern influences. The significance attached to color, pattern, and accessories within these garments further reinforces their symbolic importance. By understanding and appreciating these traditions, both locals and outsiders can gain insight into the rich cultural tapestry that defines Habashi society. (Note: The above table is only for illustrative purposes.)

<urn:uuid:7ab4e0c8-b753-4c31-8916-71818b750046>

CC-MAIN-2023-40

https://antihabashis.com/traditional-practices/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506429.78/warc/CC-MAIN-20230922234442-20230923024442-00164.warc.gz

en

Welcome, curious readers! Today, we embark on an enlightening journey to unravel the mysteries of one of education’s most intriguing concepts: Depth of Knowledge (DOK). Strap on your snorkels and get ready to dive deep into the intricacies of this pedagogical gem! Have you ever wondered how we measure the complexity of learning? How can we determine if a particular task requires surface-level understanding or if it demands profound cognitive engagement? Well, fret no more because DOK comes to the rescue! This framework provides educators and learners with a valuable roadmap to navigate the vast ocean of knowledge and tailor instruction accordingly. So, let’s set sail and explore the enchanting world of Depth of Knowledge together! The Depth of Knowledge: Unlocking the Power of Expertise The Importance of Depth of Knowledge Having a deep understanding in a particular field or subject matter is crucial for personal and professional growth. It allows individuals to make informed decisions, solve complex problems, and offer unique perspectives. Expanding Your Knowledge Base There are various ways to expand your depth of knowledge. Engaging in continuous learning through reading books, attending seminars, or taking online courses can help you acquire new information and insights. Actively seeking out challenging projects or assignments can also push you to explore different aspects of your field. Applying Deep Knowledge in Practical Situations Having depth of knowledge is not only about accumulating information, but also applying it effectively. By utilizing your expertise in real-life situations, you can offer valuable contributions and solutions. This can lead to professional recognition and increased opportunities for growth. When it comes to the English language, depth of knowledge is crucial for individuals who want to excel in different aspects of their lives. Whether you are a student, a professional, or a language enthusiast, having a deep understanding of English can open doors to various opportunities. Let’s explore the importance of depth of knowledge in the English language and how you can expand your understanding. The Importance of Depth of Knowledge in English English is one of the most widely spoken languages globally, with over 1.5 billion people using it for communication. Having a deep knowledge of English goes beyond basic communication skills. It allows individuals to express themselves fluently, understand complex texts, and connect with a diverse range of people from different cultures and backgrounds. Moreover, depth of knowledge in English empowers individuals to pursue higher education, career advancements, and cultural exchange opportunities. Proficiency in English is often a requirement for academic programs, job applications, and international collaborations. Expanding Your Knowledge Base in English If you want to enhance your depth of knowledge in the English language, there are numerous strategies you can follow: 1. Reading: Engage in extensive reading of English literature, newspapers, magazines, and online articles. This exposes you to different writing styles, vocabulary, and grammar structures. 2. Watching and Listening: Watch English movies, TV shows, and documentaries, and listen to podcasts and audiobooks. This helps develop your listening comprehension and exposes you to a variety of accents. 3. Writing: Practice writing in English regularly. Start a journal, write essays or blog posts, and seek feedback from native English speakers or language experts to improve your writing skills. 4. Speaking: Engage in conversations with native English speakers or join language exchange programs to practice speaking and improve your fluency. Applying Deep Knowledge in Practical Situations Applying your deep knowledge of English in practical situations is essential for honing your language skills and building confidence. Here are some ways you can apply your expertise: 1. Engage in Discussions and Debates: Participate in English language clubs, forums, or online communities where you can engage in discussions and debates on various topics. This helps improve your critical thinking abilities and enhances your ability to articulate your thoughts in English. 2. Take on Language-Related Projects: Volunteer for language-related projects, such as proofreading or translating documents, writing articles, or teaching English as a second language. These projects provide hands-on experience and allow you to apply your knowledge in practical settings. 3. Write and Present Research Papers: If you are a student or a researcher, utilize your deep knowledge of English to write and present research papers. This showcases your expertise and contributes to advancing knowledge in your respective field. By continuously expanding your depth of knowledge in English and actively applying it in practical situations, you enhance your language skills, gain confidence, and open doors to a wide range of personal and professional opportunities. Benefits of Acquiring Depth of Knowledge Acquiring depth of knowledge in the English language offers numerous benefits that can positively impact both personal and professional aspects of life. By delving deeper into the subject matter, individuals can enhance their problem-solving skills, gain increased confidence, and enjoy greater influence and opportunities. Enhanced Problem Solving Skills Having a deep understanding of the English language enables individuals to analyze problems from multiple angles and come up with innovative solutions. This ability to think critically and apply language skills in diverse ways is an invaluable asset in various settings. Whether it is in personal relationships or professional environments, having a strong grasp of the English language allows individuals to communicate effectively, understand different perspectives, and find creative solutions. Being knowledgeable in English grammar, vocabulary, and syntax enables individuals to express themselves clearly and concisely, facilitating better problem-solving and conflict resolution. As individuals expand their depth of knowledge in the English language, their confidence levels naturally increase. Having a strong command over the subject matter boosts self-esteem and enables individuals to take on new challenges with ease. Confidence in English language skills empowers individuals to engage in meaningful conversations, verbalize their thoughts and ideas fluently, and express themselves eloquently. Whether it is participating in academic discussions, presenting ideas in the workplace, or engaging in social interactions, a deep understanding of English can provide individuals with the confidence to communicate effectively and convey their message with clarity. Greater Influence and Opportunities Acquiring depth of knowledge in the English language can position individuals as authorities in their field, opening doors to new opportunities and expanding their professional networks. With a deep understanding of the English language, individuals can excel in various career paths such as journalism, publishing, translation, and teaching. They can develop specialized expertise in areas like literature, linguistics, or language teaching methodologies, which can lead to sought-after speaking engagements and consulting roles. Moreover, possessing extensive knowledge in English can also provide individuals with leadership opportunities. By showcasing their expertise and effective communication skills, individuals can become influential figures in their industry, guiding and inspiring others. Furthermore, depth of knowledge in the English language allows individuals to access a vast array of resources, including literature, research, and global communication. This not only broadens their understanding of the world but also enhances their ability to connect with people from different cultures and backgrounds. Overall, acquiring depth of knowledge in the English language brings forth numerous benefits, including enhanced problem-solving skills, increased confidence, and greater influence and opportunities. By continuously expanding their understanding of English, individuals can unlock their full potential, both personally and professionally. Strategies for Developing Depth of Knowledge Developing depth of knowledge in the English language requires a strategic approach. By focusing on a specific area, continuously learning and researching, and seeking diverse perspectives, individuals can expand their understanding and expertise in the language. Focus on a Specific Area One effective strategy for enhancing depth of knowledge in English is to choose a specific area or niche within the language and delve into it. By concentrating on a particular aspect, such as grammar, literature, or communication skills, individuals can gain a more comprehensive understanding of the subject matter. This focused approach allows for a deeper exploration of the intricacies and nuances within that specific area, enabling individuals to develop expertise and mastery. For example, someone interested in enhancing their knowledge of English literature can focus on a particular period, genre, or author. By extensively studying the works, themes, and context of that chosen area, they can analyze and interpret the texts with greater depth. This immersive approach not only expands their knowledge but also enhances critical thinking and analytical skills. Continuous Learning and Research Staying updated with the latest developments in the field of English language is crucial for developing depth of knowledge. Continuous learning and research are key strategies to achieve this. Engaging in ongoing education and actively seeking out new information helps individuals expand their understanding and keep up with advancements in the language. One way to invest in continuous learning is by reading scholarly articles and publications related to English language studies. These sources provide insights into current research, theories, and trends in the field. Following industry influencers, such as renowned linguists or language educators, on social media platforms can also provide access to valuable resources and discussions. Moreover, joining professional communities and networks dedicated to English language learning and teaching can offer opportunities for knowledge exchange, networking, and collaboration. These communities can include online forums, webinars, or workshops where experts and enthusiasts share their expertise and experiences. Connecting with like-minded individuals, participating in discussions, and exchanging ideas contribute to the overall development of depth of knowledge. Seek Diverse Perspectives Expanding depth of knowledge in English requires engaging with diverse perspectives within the field. By seeking out different viewpoints and embracing a variety of ideas, individuals broaden their understanding and challenge their existing beliefs. Attending conferences and conventions related to English language learning and teaching can expose individuals to various approaches, methodologies, and research findings. These events often feature presentations, panel discussions, and workshops delivered by experts and practitioners who bring diverse perspectives and experiences to the table. Actively participating in these events by asking questions, sharing insights, and engaging in discussions can deepen one’s understanding of the different dimensions of the English language. Collaborating with colleagues from diverse backgrounds is another effective strategy for gaining diverse perspectives. By working together on projects, exchanging ideas, and engaging in interdisciplinary conversations, individuals can broaden their understanding and challenge their assumptions. This collaborative approach not only expands depth of knowledge but also fosters creativity and innovation in the field of English language studies. In conclusion, developing depth of knowledge in the English language requires a focused approach, continuous learning and research, and seeking diverse perspectives. By immersing oneself in a specific area, staying updated with the latest developments, and engaging with different viewpoints, individuals can expand their understanding, expertise, and overall proficiency in the language. Challenges in Achieving Depth of Knowledge In the digital age, we are bombarded with an overwhelming amount of information. With just a few clicks, we have access to countless articles, websites, and sources of information. However, this abundance of information can make it difficult to filter through and determine what is valuable and relevant. It is crucial to develop effective research skills and critical thinking abilities to navigate through this challenge. Filtering through information requires the ability to identify credible sources, evaluate the reliability of information, and discern the relevance and accuracy of the content. It involves being able to separate the wheat from the chaff, ensuring that the information we acquire is reliable and trustworthy. This skill is vital for achieving depth of knowledge in the English language. Time and Patience Depth of knowledge is not something that can be achieved overnight. It is a time-consuming process that requires dedication and patience. Obtaining a deep understanding of the English language involves investing significant amounts of time into studying, practicing, and refining one’s understanding. Mastering English requires continuous effort and practice. It involves reading extensively, analyzing complex texts, and engaging in rigorous language exercises. This commitment demands a willingness to consistently dedicate a substantial amount of time to develop and improve one’s language skills. Furthermore, achieving depth of knowledge in English requires patience. Learning a language is a gradual journey, and progress may not always be immediately visible. There will be moments of frustration and challenges along the way. However, perseverance and a growth mindset are essential to overcome these obstacles and continue on the path towards deep understanding. Resisting the Urge to Dabble In today’s world, the temptation to dabble in various fields and subjects is ever-present. With the vast amount of information available at our fingertips, it is easy to get distracted and explore different areas of interest. However, achieving depth of knowledge in the English language requires resisting this urge to dabble and instead committing to developing expertise in a specific area. Committing to a specific area of expertise in English enables individuals to delve deeply into the intricacies and complexities of the language. It allows for a more focused and in-depth understanding, rather than a surface-level comprehension of multiple subjects. This commitment requires discipline and a willingness to forgo shallow knowledge for the sake of deep understanding. Developing expertise in a specific area also allows individuals to become thought leaders and authorities in their field. It provides opportunities for specialization, which can lead to professional growth and career advancement. By resisting the urge to dabble and dedicating oneself to a specific area, individuals can achieve a higher level of proficiency and mastery in the English language. Cultivating a Lifelong Pursuit of Knowledge Embrace a Growth Mindset Having a growth mindset means believing that your abilities and intelligence can be developed through effort and dedication. It is about embracing challenges, learning from failures, and seeking feedback to continuously improve your depth of knowledge. In the context of the English language, this means recognizing that language skills can always be honed and improved upon. One effective way to solidify your own understanding and contribute to the growth and development of your community is by sharing your expertise with others. This can be achieved through mentoring, teaching, or writing informative articles, just like the one you’re reading. By sharing your knowledge of the English language, you are not only helping others but also reinforcing your own understanding and mastery of the subject. Never Stop Learning It is important to acknowledge that the pursuit of depth of knowledge in English is not a destination but a lifelong journey. Just when you think you have grasped the intricacies of the language, there is always more to learn. By staying curious, remaining open to new experiences, and always being willing to learn and grow, you can continue expanding your understanding of English. The more you know, the more you realize how much there is still to learn, and this realization will propel you further in your quest for depth of knowledge. Cultivate a Habit of Reading If you want to dive deeper and build a strong foundation of knowledge in the English language, one of the most effective ways is to cultivate a habit of reading. Reading a wide range of materials such as books, newspapers, magazines, and online articles exposes you to different writing styles, vocabulary, and grammar structures. This not only enhances your language skills but also broadens your understanding of literature, culture, and the world at large. Aim to include a variety of genres in your reading repertoire, from classics to contemporary works. This will help you explore different registers and writing techniques while also expanding your vocabulary. Consider joining a book club or online reading group to engage in discussions and gain different perspectives on literature and language use. Engage in Active Listening and Speaking While reading is an excellent way to develop your English language skills, it is equally important to engage in active listening and speaking. Being able to understand and communicate effectively in spoken English is crucial for depth of knowledge. The more you practice listening to native English speakers, the more exposure you have to natural intonation, pronunciation, and idiomatic expressions. Consider watching movies, TV shows, or documentaries in English, and try to listen actively to the dialogues. Practice speaking with native speakers or join language exchange programs where you can interact with individuals who are fluent in English. Engaging in conversations in English will improve your fluency, help you internalize grammar rules, and enhance your overall understanding of the language. Utilize Online Resources With the advancement of technology, there is a wealth of online resources available to enhance your depth of knowledge in English. Take advantage of language learning platforms, websites, and apps that offer interactive exercises, grammar explanations, vocabulary builders, and reading materials tailored to different proficiency levels. Consider subscribing to English language newsletters or podcasts to receive regular updates on language tips, cultural insights, and even engaging stories. Online forums and discussion boards can also be valuable platforms to seek and provide language-related guidance, as well as connect with other English language enthusiasts. cultivating a lifelong pursuit of knowledge in English requires embracing a growth mindset, sharing your knowledge with others, never ceasing to learn, cultivating a habit of reading, engaging in active listening and speaking, and utilizing online resources. By consistently applying these strategies, you can deepen your understanding, fluency, and appreciation of the English language. Thank you for taking the time to dive deep into the fascinating topic of unlocking the secrets of depth of knowledge with us. We hope that this article has provided you with valuable insights and a clearer understanding of this concept. At [website name], we are committed to delivering well-researched and informative articles that cater to your interests. Whether you are an educator, a student, or simply someone curious about the world around you, we strive to provide content that is both engaging and relevant. We invite you to explore more of our articles and resources on depth of knowledge and other related topics. As our team continues to bring you new content and updates, we encourage you to visit us again and embark on further learning journeys with us. Feel free to share your thoughts and feedback at any time – we value your input and it helps us improve our content for you. Thank you once again for your readership, and we look forward to seeing you again soon! What is depth of knowledge? Depth of knowledge refers to the complexity and cognitive demand required to answer a question or solve a problem. It classifies the level of understanding or thinking skill required, ranging from simple recall to high-order thinking and application of knowledge. How is depth of knowledge measured? Depth of knowledge is typically measured using a scale of four levels: Level 1 – Recall and Reproduction, Level 2 – Skills and Concepts, Level 3 – Strategic Thinking, and Level 4 – Extended Thinking. These levels help educators design appropriate learning experiences and assessments. Why is depth of knowledge important in education? Understanding depth of knowledge is crucial in education as it helps educators design instruction that challenges students and encourages critical thinking and problem-solving skills. By assessing the depth of knowledge, educators can gauge students’ comprehension and tailor their teaching accordingly. How can teachers incorporate depth of knowledge in their lesson plans? Teachers can incorporate depth of knowledge in their lesson plans by designing tasks and questions that require students to think at various levels. They can provide opportunities for analysis, synthesis, and evaluation, encouraging students to delve deeper into the subject matter. Can depth of knowledge be applied across different subjects? Absolutely! Depth of knowledge is a universal concept that can be applied across various subjects and disciplines. Whether it’s mathematics, science, literature, or social studies, understanding the depth of knowledge allows educators to create meaningful and engaging learning experiences in any subject area. How can students enhance their depth of knowledge? Students can enhance their depth of knowledge by engaging in activities that promote critical thinking, such as analyzing complex problems, conducting research, and discussing topics in-depth. They can also seek guidance from their teachers and actively participate in class discussions and collaborative learning environments. What are the benefits of promoting depth of knowledge in students? Promoting depth of knowledge in students leads to improved cognitive skills, higher-order thinking, and the ability to apply knowledge effectively. It fosters a deeper understanding of concepts, greater problem-solving abilities, and prepares students for real-world challenges. What are some strategies for fostering depth of knowledge in the classroom? Some strategies for fostering depth of knowledge in the classroom include using open-ended questions, encouraging student-led discussions, incorporating real-world applications of concepts, and providing challenging tasks that require analysis and synthesis. Are there any resources available to further explore depth of knowledge? Yes, there are various resources available to further explore depth of knowledge. From research papers and books to online articles and educational websites, there is a wealth of information that can help deepen your understanding of this concept. To stay updated on future articles and resources related to depth of knowledge, we encourage you to subscribe to our newsletter or follow us on social media. By doing so, you’ll receive regular updates and notifications whenever new content is published.

<urn:uuid:25dd5594-c641-42ac-a886-8968715c844d>

CC-MAIN-2023-40

https://www.emediadynamics.com/depth-of-knowledge

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506669.96/warc/CC-MAIN-20230924223409-20230925013409-00564.warc.gz

en

At the end of this chapter, you’ll be able to: - Plan, write and conduct interviews with primary informants. - Visit a cultural space and analyze the cultural symbols in the space. - Analyze your fieldwork data by selecting and applying a theoretical approach. 2.1 Introduction to Fieldwork An ethnography is a description of a culture, custom, group of people, beliefs, and practices. Cultural anthropologists always take a holistic approach which means that we look at many elements that tie together to create a lived experience. We are not focused on making moral judgments, nor are we interested in proving anyone’s belief systems to be true, false, better, or worse. Rather, we strive to understand a group of people in their own, culturally specific logic. You are expected to achieve all of these goals whenever you conduct your own fieldwork. If required to complete ethnographic fieldwork for your anthropology class, you’ll likely encounter some of the most common challenges faced by anthropologists: - You will need to understand the other culture’s specific logic. This means that, when something doesn’t make sense to you, you need to ask yourself, “what would need to be true for this to be the case?“ You will need to speak to the people in the community and try to get to the bottom of the beliefs and practices that are the most foreign to you. - You will need to avoid removing the power from the people that you’re interviewing. While you are expected to compose the paper, yourself, you should still rely heavily on the information given to you by members of the community. Feel free to include long quotes and stories directly from the community. You are expected to comment on information coming from your informants; you are expected to analyze the cultural practices anthropologically. But, you should try your best to amplify the voices of the people that you are studying at the same time. - You will need to overcome the instinctual desire to measure others’ cultures against your own. If you approach the culture with the idea that it should be measured against your own belief systems, then you will not succeed in your fieldwork. You need to understand the community on its own terms and be prepared to understand the community based on its own standards. 2.2 Participant Observation: A Practical Guide for Students Remember that there are four steps of participant observation. As students of anthropology (likely completing a miniature ethnography), you’ll need to demonstrate your ability to engage with these concepts within the limitations of your anthropology course. - Stay for a long time: Without the ability to travel and live abroad for years as part of your anthropology class, you should still achieve a truncated version of this important step. When you plan to visit your community-of-study, plan to stay as long as possible. Don’t simply swing by their information booth for 15 minutes and then go home. Rather, stay for many hours, share a meal with the community, participate in their activities and rituals. Whenever possible, return for a second visit and follow up with your informants. - Get off the veranda: You will need to participate in the culture at the same time that you are observing it. As you are required to engage in the cultural practices, please pick a community that you feel comfortable participating with. When you are engaging in the step, do not, for example, sit in the very back of a church slumped down ignoring the people in the church. You need to sit in the front, pray with them, shake hands, and participate in the actual events in order to understand them from the people’s perspective. - Learn the language: It’s likely that you already speak the languages of the community that you’ll be studying as your research will be conducted locally. However, you should expect to learn some new culturally specific terms while you are talking to the people. Maybe you’ll learn slang terms, or you’ll learn the professional terms they use in their field. But try to identify at least one or two new words and then explain to your instructor how they reveal something about the people’s cultural beliefs and priorities. - Explore the Mundane Imponderabilia: You need to make the strange familiar and make the familiar strange throughout your research. Try to understand how your beliefs and practices are constructed and confusing to outsiders, while simultaneously trying to make sense of cultural practices that are confusing to you. 2.3 Emotion, Storytelling, and Vivid Language Strong ethnographic research incorporates narrative elements and storytelling. When conducting and writing your own research, you may want to incorporate any of the following types of stories: - A story that reflects on your personal experience in the new culture - A historical tale that shapes the culture that you are studying - A myth that is sacred to the community that you are studying Remember also that you are a human being studying human beings so your emotional experiences during fieldwork are important to include in your research. If you felt scared upon entering the community and then felt relieved to find that they were very welcoming, then that would be an important element to include in your research. You can also vividly describe the environment including sights, smells, flavors (if the community feeds you). In fieldwork, anthropologists strive to develop rapport with their community of study. We use the word rapport to refer to a close and friendly relationship through which individuals can clearly communicate. In other words, if you are able to develop a relationship with the people that you’re interviewing, then your fieldwork will go smoothly. In the interest of smooth fieldwork, please try to maintain a respectful relationship with the community throughout your research process. You can achieve this in the following ways: - Remember to be grateful. The community that you are studying is doing you the favor of helping you complete your research, you are not doing them any favors. In the past, the vast majority of my students have maintained professional and respectful relationships with the people in their community that they were studyingYou will benefit from that reputation when you start your fieldwork. Please help future students have an easy time by maintaining a relationship of mutual respect. - Be honest with yourself about your limitations. If you know that you will not be able to keep an 8 AM interview appointment on a Saturday, then please do not schedule it. Try to keep your word with the people that you are studying and, if they can’t accommodate your own schedule and needs, then go ahead and switch to a different topic that is easier to achieve. - Prioritize your own dignity. It’s rare that anthropology students are not welcome in a community but it is possible. If you do not feel comfortable with the community that you planned to study, please switch topics. When conducting research, you should not feel unsafe in any way. 2.5 Primary Informants An essential feature of anthropological research is the interview. Cultural anthropologists establish strong relationships with a primary informant. Your primary informant will be the person who you trust the most in the community and, likely, the person that you will conduct your interview(s) with. It is likely that your informant will be the first person that you reach out to when you contact your chosen community of study. However, it’s possible that the first person you reach out to will forward you on to someone who is a better fit for your research. Either way, you’ll need to identify who your informant is in your paper. You are always welcome to anonymize anyone’s name in your research because your paper may be posted publicly or shared widely. However, when you have your informant fill in a consent form, you must include their actual name and contact information. 2.6 Gaining Consent It is unethical to include any interview information from anyone who has not expressly consented to be interviewed. You are required to gain written consent from members of your community of study. Ensure that your informants sign your consent forms before you conduct your interview. This book will offer a sample consent form that you are welcome to use. Sometimes, anthropology students forget to bring any consent forms only to learn that their informants do not feel comfortable signing after the interviews are complete. This is unfortunate because that student’s hard work could not be turned into a research paper. Please make sure this does not happen to you; make sure that you get consent before you interview. Please understand that some communities will simply not feel comfortable signing a consent form. There are many communities in this world who, for a very good reason, do not trust outsiders coming in and asking them to sign things. If anyone refuses to sign your consent form, please accept their right to refuse and move on to either a new informant or to a new community altogether. 2.7 Planning and Conducting Interviews You’ll need to interview at least one member of the community after having completed the following steps: - Reach out to the community and schedule a time to join an event and conduct an interview - Get your consent forms signed - Participate in at least one cultural event with the community of study Whenever possible, try to diversify the types of people that you are talking to. For example, if you only interview a group of men then you will not get a chance to understand how that culture is experienced by all genders. That being said, if you are specifically studying men’s experiences, then it would be appropriate to only interview men. But, in that case, please interview men and boys of different ages. Or, speak to leadership and laypeople. The more diverse the viewpoints, the stronger your research will be. Write up a few questions before you go into your interview. You’re welcome to ask whatever you want. It’s recommended that you formulate your questions in the following way: - Avoid writing your questions with anthropological language. For example, asking someone what “myths” or “magic” they believe in might be offensive because they assume that you are implying that their sacred stories and beliefs are untrue. Instead, rephrase in a way that is more respectful and understandable to people who have not taken an anthropology class. - Decide exactly what you want to understand about this community and structure your questions in that direction. Try to come up with an interesting thesis. So, identify a unique angle that you want to examine, and then prepare to interview on that topic. - Remember that you are not an undercover cop trying to unveil any kind of secrets from this community. Anthropologists are open and honest about their motivations. You should always be transparent about what you are trying to understand, and how you are trying to understand it. - Consider drafting 5 to 10 questions but prepare yourself to throw out a few questions throughout the interview. You may get an informant who is difficult to interview or someone who talks for so long that you never get a chance to reach the other questions. All of these circumstances are perfectly fine. Simply focus on identifying some bits of information that you can turn into a research, and don’t worry about strictly sticking to your interview plan. - Be prepared to improvise questions throughout the interview. You do not have to stick to prepared questions, you may want to take your conversation in an entirely new direction and you should be open to that organic flow. - Write both directive questions and open-ended questions. Directive questions are structured in a way that requires a singular, clear, direct answer (often a yes or a no). Directive questions can help you get to the bottom of something that you need a clear answer on. Open-ended questions allow the respondent to elaborate in a variety of different ways. Often open-ended questions to allow for more cultural context. - You do not know if you will be interviewing someone who is clear, or a lengthy talker and you should prepare for both. Plan to interview your informant in a setting that is comfortable for them. It’s always best to interview them in their own cultural space because then you can observe how they interact with, decorate, and organize their cultural space. However, please assure that you never put yourself in harm’s way. Your dignity and safety should always come first; please do not meet your informant somewhere that does not seem safe. When you are interviewing please remember to be an active listener. We use the term ”active listening” when someone is clearly engaged in the conversation. When you are listening actively, you are nodding your head, smiling, asking follow-up questions, making eye contact, and clearly participating in the discussion. If you are staring blankly at the informant and giving them no feedback, they will not be inclined to give you the lengthy answers that you need to write a meaningful paper. You’re encouraged you to take some notes during your interview so that you don’t forget the informant’s body language, the specific words, statistics, or terminology that they use, or anything else that you are likely to forget. However, please do not take so many notes that you are no longer listening actively. Many students ask if they can record interviews on their phones. The answer to this is yes, however, please sincerely ask yourself if you will ever actually listen to the recordings. If you plan to record the interview, you must record yourself asking the informant if they are willing to be recorded and ensure that they respond in the affirmative on the recording. California is a dual consent state so you cannot record someone without their clear consent on the recording. 2.8 Journaling and Drafting After conducting your fieldwork, be sure to sit down and journal all of your thoughts and feelings. Do not wait until you get home, but rather sit in your car or at the bus stop, and record everything that you can remember before you leave the space. When you journal, consider writing down the following: - All of your initial impressions - The new words that you learned - Items to look into after leaving - Follow up questions - Anything that confused you - Your emotional state before and after the interviews - Sights, sounds, the atmosphere of the setting - Any words or statistics that your informant mentioned that you need to look up upon arriving home Taking this step will help you have more material to draw on when it comes time to draft your paper. 2.9 Getting Community Feedback Finally, in order to ensure accuracy in your work, it’s highly recommended that you draft your paper a few days before the paper is due. Then, you can email your draft to your primary informant for concrete feedback. Getting feedback from your informant is a wonderful way to make sure that you are amplifying the voices of the people that you are studying and to ensure that you are representing them correctly. Glenn Jordan and Delmos Jones are two anthropologists who have re-invented the meaning of ethnographic fieldwork. Continue on to better understand their approach to fieldwork and ethnography and to consider how their ideas and research can help shape your own. 2.10 Glenn Jordan: Visual Anthropologist Adapted from Representations. Written by Zoe Jensen. Edited by Erin Hayes and Amanda Zunner-Keating. Ethnographies are a staple of anthropological fieldwork. These deep, vivid descriptions of a people, culture or society allow for an understanding – and appreciation – of the vast cultural differences found around the world. Arguably beginning with anthropologist Bronisław Malinowski’s 1922 ethnography, Argonauts of the Western Pacific, anthropologists have long been using vivid literary devices and elements of storytelling to enhance their work and connect readers to the people their books aim to represent. With technological advancements in an increasingly digitized world, anthropologists can now explore means of describing the people they study that go beyond words on a sheet of paper. Photography, videos, and even social media are now being used to complement fieldwork, creating more dynamic modes of storytelling that engage the senses. An anthropologist, photographer, and curator — Glenn Jordan has dedicated his life to documenting and sharing the stories of people and their cultures particularly through a passion for photography. His work champions the underdog and advocates for an appreciation of human diversity. The focus of Jordan’s research, ethnographies, and exhibitions is representation. Jordan states, “Behind everything I do, all my photography is all about identity and representation and culture, multiculturalism” (Haf 2012). Through exposure and education he aspires to challenge ignorance. Jordan uses his photography to enhance and bring life to his ethnographic work. By enhancing cultural knowledge through photographic representation, Jordan more vividly reflects the stories told by his informants (ibid). While early anthropologists looked to study isolated cultures, modern anthropologists – operating in an increasingly globalized world – analyze how interactions between people shape our identities. Jordans exhibitions particularly look at the life and history of minorities present in Ireland and Wales. Jordan uses his visual art to tell the stories of Somali people living in Wales and Sikh communities in Ireland, among others. Jordan’s 2015 collaboration with Andrew McNeill titled, “Under the Bridge: Being Homeless in Cardiff” explores the lives of unhoused people living in Wales (“Glenn Jordan” n.d.; Haf 2012). His article titled, “An African Presence in Europe” (2008) describes his ethnographic research on Somali people living in Wales as “an exercise in anti-racist education” (Jordan 2008). Jordan aims to improve understanding between diverse groups to create a more united community that does not discriminate against those of different backgrounds (Haf 2012). Jordan is known to have a sensitive and caring nature which allows him to connect easily with those he photographs, often resulting in a willingness from people to be vulnerable and to tell difficult stories. The ability to develop a fruitful relationship with our communities-of-study is an essential step in anthropological fieldwork. When we invest in communities and follow the ethical codes necessary to establish genuine trust, we develop a good rapport (a relationship based on clear and direct communication) with our informants. The backbone of anthropology is fieldwork and good fieldwork requires meaningful interviews with diverse cultural groups. Jordan has written several books and articles on culture, race, and African American history. Cultural Politics (1995), co-authored with Chris Weedon, focuses on power and reflects on the ways in which the constructs of class, gender, and race are upheld and perpetuated — Jordan writes “Social inequality is legitimated through culture” — or even how these social divisions may be challenged in a culture. These themes are also touched upon in a later work with Weedon, in which the pair examine collective memory and its role in identity creation along racial and gender lines, among others (Weedon & Jordan 2012). They note the many influences on collective memory including the ways it may be politicized or biased to serve a dominant group (ibid). Anthropologists use the term collective memory to refer to way that family, groups, and/or communities might share similar ideas of past events. Of course, as human memory is not perfect, social scientists know that our memories are largely impacted by the dominant narratives that are perpetuated by powerful groups. So when examining collective memory, we must take a holistic approach that considers the complex web of influences that may impact our ideas of past events. In his piece “Re-membering the African-American Past” (2011), Jordan describes the art and history of the Harlem Renaissance as well as the “New Negro” that emerged during this time through in-depth analysis of the works of Langston Hughes and Aaron Douglas (Jordan 2011). Jordan’s work explores numerous facets of power and multiculturalism. has advocated for the agency of marginalized groups and championed the beauty of diversity through it all. As an active member of the Association of Black Anthropologists (ABA), Jordan was editor of the association’s newsletter from 1981 to 1985, while also serving as treasurer (Harrison 1987). Here he notably instituted the ABA’s Occasional Paper series, thus expanding ABA’s publishing range and provided an opportunity for further valuable literature on racism, colonialism, and African Americans in anthropology, among others (ibid). His dedication and stability within the organization would later lead him to become vice president (ibid). Jordan has also curated several exhibitions across Ireland and Wales (Jordan n.d.). The same year Jordan arrived in the UK, he and the community founded the Butetown History & Arts Centre in Cardiff as a project dedicated to history and education, with aims to educate on the history and cultures of minorities and immigrants within the city and Wales in general through events, exhibitions, and books (ibid). By highlighting the vibrant diversity of the area and campaigning compassion and appreciation for others, the goal is to fight prejudice and inspire appreciation for the variety of cultures present (ibid). Through dedication to education, whether as a professor, in the curation of exhibitions, or in publishing works committed to multiculturalism and the study of power, Jordan has no doubt contributed greatly to the advocacy for Black anthropologists and other under-represented groups. Jordan’s recent works and the lasting effects of the organizations and institutions he has been a part of demonstrating a continuous impact on the world and undoubtedly will inspire and teach countless more. 2.11 Delmos Jones: Ethics in Fieldwork Adapted from Representations. Written by Amanda Zuner-Keating and Ben Shepard. Edited by Laurie Solis. A written ethnography presents a way of understanding a culture based on an anthropologist’s insights and experiences as a participant observer. However, as it turns out, there is more than one way to understand a culture. We will sometimes find it useful to distinguish two separate perspectives we use when studying cultures, the emic perspective and the etic perspective, each highlighting a fundamentally different way of viewing cultural beliefs and behaviors. Each of these perspectives has an important place in the anthropologist’s toolkit. Anthropological fieldwork involves immersing oneself in a group’s day-to-day activities, participating in their rituals, attending social gatherings, and conversing with cultural insiders. All of this is done with the goal of understanding the culture from the perspective of its actual members. To learn how cultural insiders see the world is to gain what we call an emic perspective. Another way to say this is that when we take an emic perspective, we are looking at the world around us through the eyes of a member of a particular culture, interpreting it in terms of their beliefs, preconceptions, and categories. In contrast, another approach that anthropologists use when trying to gain an understanding of a culture is what we call an etic perspective. This term refers to a way of observing a culture without the preconceptions, attitudes, or cultural knowledge of its members. In other words, an etic perspective is supposed to be free of any cultural biases, even cultural insiders’ perspectives about their own reasons for doing what they do. Anthropologist Delmos Jones researched both perspectives throughout his career and he outlined his findings in his publication, “Towards A Native Anthropology.” In this influential work, Jones makes the case that anthropologists must increasingly focus on studying their own communities. Jones rightly argued that anthropology’s exclusive focus on being the “outsider looking in” was steeped in ideas of cultural supremacy (the exact racist and colonial worldviews that anthropology now strives to overcome). By working as both outsider and insider throughout his career, Jones exemplified a new, modern style of anthropological research that is now widely embraced by our field. Jones conducted research in three separate areas: among the Papago Indians of Southern Arizona, among the Lahu of Northern Thailand, and within the Black community of Denver, Colorado. Each of these areas of research led Jones to profound conclusions that shaped the future of anthropology, and his work within Black communities in Denver offered a particularly powerful insight toward the power of “native anthropology”. Jones writes, “I am an intrinsic part of the social situation that I am attempting to study. As part of the situation, I must also be part of the attempt to forge a solution (Jones 255).” Jones lived from 1936–1999. Jones grew up partially in the South and partially in Oakland, California. Each circumstance influenced how he viewed the world: the former offered him an intimate knowledge of the Jim Crow South and how people struggled in oppressive cultural systems; the latter introduced Jones to the diversity of cultural views and political engagement (Klugh 2018). Later in life, in San Francisco, Jones earned his degree in anthropology in an era when student and faculty activism was on the rise alongside the increased popularity of anti-racism and feminism. After moving to Arizona, Jones’ initial position was as a field researcher among the Papago of Arizona. In this position, Jones developed his new anthropological consciousness: studying “the other” was also an opportunity to study one’s own cultural understanding of the self. Jones found that anthropological research should not create a false binary of “West versus other” but that, rather, anthropologists should utilize the unique perspectives of our own cultural knowledge to offer insights about our communities and the other groups that we work among. “As a graduate student, whenever I read descriptions of other people’s way of life, I could never quite escape the notion that the writer could just as well be talking about me, and the way I lived as a Black youth in the rural south in the 1940’s…I saw the Papago more as a poor people than as “Indians”…What I saw were people, who lived very similarly to the rural Black and White people of my childhood in rural Alabama (Jones cited in Klugh 2018.)” Delmos Jones was particularly concerned with ethics within anthropology. While working in Thailand, the local government became interested in seeking out identifying information about socialist groups and demanded that Jones’ research be handed over (Klugh 2018). Jones recognized that he could no longer conduct ethical fieldwork as his work was being used to target political groups; as a result, he suspended his research and subsequently published guidance for future anthropologists to protect the identities and lives of informants in the field. As fieldwork is the backbone of anthropology, ethical fieldwork is a core value of our field. Without establishing and following ethical procedures, anthropologists are unable to accurately reflect – and protect – the lives of the informants who share their cultural knowledge with us. The American Anthropological Association offers 7 clear guidelines for anthropologists to pursue ethical fieldwork; each is essential for anthropologists pursuing ethnographic fieldwork. The seven Principles of Professional Responsibility in the AAA Statement on Ethics are: - Do No Harm: Above all else, anthropologists must not harm their communities of study. This principle emphasizes the role of anthropologists as researchers whereby we must not experiment on or manipulate the communities who we are striving to better understand. Additionally, we cannot publish information that would jeopardize the safety or wellbeing of the community. - Be Open and Honest Regarding Your Work: Deception has no role in anthropological fieldwork. Anthropologists must remain transparent about our work. We share the purpose and implications of our fieldwork with our informants. - Obtain Informed Consent and Necessary Permissions: Before conducting any interviews or field observations, anthropologists must communicate their research interests and purpose to their informants and gain informed consent. Information gathered without consent cannot be used in any anthropological publications. - Weigh Competing Ethical Obligations Due Collaborators and Affected Parties: Anthropologists must consider how time, research, and publication might impact the people and institutions who we research and work with. Vulnerable groups must be protected and prioritized in fieldwork, research, and publication. - Make Your Results Accessible: The communities that we study have a right to understand and engage with any publications that result from our fieldwork. Your conclusions must be made available to the people who we interviewed and observed. - Protect and Preserve Your Records: Anthropologists must keep their research preserved (while protecting confidentiality). - Maintain Respectful and Ethical Professional Relationships: Anthropologists are required to respect colleagues and informants alike. Always credit informants or fellow anthropologists for their own information and research while always prioritizing equitable workplaces and field sites. When we look at Delmos Jones’ work, we see that we owe him a great deal. Jones developed a methodology to protect the safety and identity of informants and referred to his own field experiences to press the importance of informant protection. Additionally, Jones pushed for a new direction in the field known as “native anthropology.” While cultural anthropologists were aware of the colonial legacy the marred the legitimacy of our field for generations, Jones identified and implemented a path to research that tangibly addressed these problems. Which area of human life would you like to study as an anthropologist? Which ethnographic research methods would you adopt in your own research? Before moving on, ensure that you can define the following terms in your own words: - Ethnographic Research Methods: - Primary Informant: - Directive Questions: - Open-ended questions: - Active Listening: - Express Consent: - Dual Consent State: Ensure that you can briefly summarize the arguments of these social scientists: - Delmos Jones - Glenn Jordan Chapter 2 Works Cited - “Glenn Jordan.” Academia, n.d, cardiff.academia.edu/GlennJordan. - Haf, Nia, and Glenn Jordan. “In Conversation with Glenn Jordan.” Nia Haf, 2012, nia-haf.co.uk/for-part-of-our/. - Harrison, Ira E. “The Association of Black Anthropologists: A Brief History.” Anthropology Today, vol. 3, no. 1, 1987, pp. 17–21. - Jones, Delmos. “Epilogue.” Decolonizing Anthropology: Moving Further toward an Anthropology for Liberation, by Faye Venetia Harrison, Association of Black Anthropologists, American Anthropological Association, 2010. - Jones, Delmos. “Towards a Native Anthropology.” Human Organization, vol. 29, no. 4, 1970, pp. 251–259., doi:10.17730/humo.29.4.717764244331m4qv. - Jordan, Glenn. “An African Presence in Europe.” Cultural Studies, vol. 22, no. 2, 2008, pp. 328–353., doi:10.1080/09502380701789232. - Jordan, Glenn. “Dr Glenn Jordan, Butetown History & Arts Centre.” GOT Project, n.d., got.uk.net/index.php/news-events/launch-programme/128-dr-glenn-jordan-butetown-history- arts-centre. - Jordan, Glenn. “Re-Membering the African-American Past.” Cultural Studies, vol. 25, no. 6, 2011, pp. 848–891., doi:10.1080/09502386.2011.605269. - Jordan, Glenn, and Chris Weedon. Cultural Politics: Class, Gender, Race And The Postmodern World. Wiley-Blackwell, 1995. - Klugh, Elgin. “Delmos Jones and the End of Neutrality.” The Second Generation of African American Pioneers in Anthropology, University of Illinois Press, 2018. - Weedon, Chris & Glenn Jordan. “Collective memory: theory and politics”, Social Semiotics, 22:2, 2012, pp. 143-153, doi: 10.1080/10350330.2012.664969. Written by Amanda Zunner-Keating. Edited by Tad McIlwraith, Julie Vazquez, Erin Hayes, and Ben Shepard. Sections 10 and 11 adapted from “Representations” by and Zoe Jensen and Amanda Zunner-Keating. Special thanks to Jennifer Campbell for curating photos; and to Melody Yeager-Struthers for organizing our resources. Layout by Amanda Zunner-Keating and Madlen Avetyan. Audio recording by Amanda Zunner-Keating. NPR links on this are linked NPR’s website with permission from NPR. All NPR content (audio, text, photographs, graphics, videos) is protected by copyright in the U.S. and other countries. For more, visit NPR’s Rights and Permissions website.

<urn:uuid:7c84e611-919d-48da-9dce-341a64b2522a>

CC-MAIN-2023-40

https://oer.pressbooks.pub/beliefs/chapter/ethnographic-research-methods/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506632.31/warc/CC-MAIN-20230924091344-20230924121344-00166.warc.gz

en

Two complete lessons on Chapter 2 of The Woman in Black. The focus is on foreshadowing in the chapter, and the lessons encourage plenty of close analysis. The term ‘foreshadowing’ is thoroughly introduced in the first lesson, and pupils are encouraged to see how this is done through the use of pathetic fallacy. In the second lesson, pupils work on close analysis of extracts from the text, and then are asked to write a mini-essay summing up the foreboding in the chapter, with an opportunity for peer review at the end. A series of three lessons on Chapter 5 of Of Mice and Men, with a focus on Curley’s Wife. These consider whether she is a victim or villain. With chapter 5 of this novel, I think it’s important to read the chapter all in one go. As such, the first of these lessons focuses on what our previous opinions were of her, and then has a reading session. At the end of the lesson, pupils are asked to summarise what Curley’s wife’s dream was in a paragraph. In the second lesson, pupils start to consider their own ideas about whether she can be considered a victim or a villain. Starting by looking at what other characters think of her, pupils consider that there are different perspectives from which to look at her character. From there, pupils can use a worksheet to find quotations to back up both sides of the argument, before summarising opinions of her in a paragraph. Attached to this download is an extract, looking at the description of her shortly after she has been killed. I find this works rather well as a homework task, as pupils work independently to analyse the extract and pick out quotations that prove different ideas about her, before writing a paragraph considering how she can be considered to be misunderstood. The third of these lessons looks at practising persuasive writing skills: pupils are tasked to write a persuasive speech, arguing whether Curley’s wife was a villain or a victim. The lesson starts with a short example piece of persuasive writing, which is about Curley, and pupils are asked to identify the persuasive techniques within it as a starter activity. From there, pupils discuss whether she is a villain or a victim (you might want to make two separate lists on the board during this). The majority of the lesson looks at persuasive writing, with pupils producing their own speech. You could end this lesson with self or peer assessment, with pupils spotting the persuasive techniques in their work, as they did in the starter activity. I’ve designed these lessons for a lower-ability GCSE class, so therefore they could easily suit KS3 too. You could comfortably make them more challenging by removing some of the examples given. A lesson looking at Banquo’s murder and ghost in Act 3 of Macbeth. The lesson starts with some context about Banquo, and goes on to look at Act 3 Scene 4. This lesson focuses on how we can see Macbeth starting to show signs of madness in Act 3, and includes links to three different productions of the scene. There is detailed historical context about the history of Macbeth and how this was relevant to James I- very important for a lot of exam boards! Pupils have the opportunity to see how Macbeth is starting to show signs of madness, and then also consider his relationship with his wife. There is a choice of two tasks at the end looking at his relationship with Lady Macbeth, one looking at a more advanced comparison-style paragraph, and one more simple asking for separate paragraphs- these work particularly well for homework and can be tweaked to suit the ability of pupils. A series of four lessons on chapter 3 of Of Mice and Men, with focuses on Slim, Candy’s dog, dreams, and the fight at the end of the chapter. This series of lessons starts with a lesson on Slim, which compares him to Curley and then goes on to look at why Slim has as much power as he does. There is opportunity for pupils to analyse some key quotations, which therefore provides a useful quotation list for revision. The second lesson looks and Candy’s dog’s death and the concept of survival of the fittest, and ends with a comparison between the relationship between Candy and his dog with that between George and Lennie, allowing pupils the possibility to predict what will come later in the novel. The third lesson focuses on the description of the dream that we see in this chapter, in which George goes into much more detail about what their plans are. There is a worksheet with an extract for pupils to annotate, with some questions to guide their annotation as a support. Finally this series of lessons ends with a look at the fight scene at the end of the chapter, and considers how Candy, who has been an observer for much of the action of this chapter, has reacted to it all with a diary task. I’ve used these lessons for a couple of years now, with classes of mixed ability. Prompt questions can be removed to make things more challenging for the more able. Moreover, I’ve used these lessons when we’ve been working in the classroom and remotely, and have found that they’ve translated quite well into remote-learning: for example, the annotation activity can be done on Google Docs or similar, with pupils using the comments function to make their notes. A handout to help pupils structure newspaper articles. The sheet is structured as a triangle, to steer pupils through the gradual build-up of information that a newspaper article requires. I’ve used this with KS3 and KS4 pupils and it works well; the triangle structure is memorable. A series of three lessons on the final chapter of Of Mice and Men, with the chapter being read in the first, and the following lessons looking at themes. As the final chapter of the novel is the shortest, and the fastest-paced, I feel it makes sense to read it in its entirety in one lesson, which isn’t my usual style with this novel. The first of these lessons includes reading time, and then a chance to reflect on the use of foreshadowing within the novel. The second lesson looks more closely at the imagery of light and dark in the novel, and asks pupils to look at a quotation about light and dark and consider what it means. You could make this easier or harder by choosing whether or not to tell them where in the novel this quotation can be found. To do this on paper, I’d just print the slides and ask pupils to write directly onto them; it can also work digitally by sharing the powerpoint with pupils. The final lessons focuses on dreams and the characters’ different dreams, thinking specifically about why none of them work out. There are two different versions of the worksheet, one where the quotations have already been provided for a bit of support, and another where pupils are expected to find them themselves. Two lessons on chapter 5 of The Woman in Black, focusing on description in the novel, of Eel Marsh House and the woman herself, with opportunity for creative writing. The first lesson focuses on description of the landscape, and asks pupils to create their own description of the house as they walk up towards it, scaffolded with a planning sheet. The second lesson looks at the extract in which Kipps describes the woman, and considers what we learn about her and her character. A series of four lessons on chapter 2 of Of Mice and Men, looking at characters, hierarchy and building up to writing an essay - with an example. The first of these lessons focuses on the setting, with pupils comparing the setting of the second chapter to the more tranquil and peaceful opening. In the second lesson, pupils focus on the concept of hierarchy, and as they start to meet characters they start putting them into hierarchical order. In the third lesson, we meet Curley’s wife and Slim, and consider how they are presented as characters that the reader is supposed to either like or dislike. There is opportunity to discuss the extent to which the reader’s opinion of Curley’s wife is tainted by the expectations we have of her following Candy’s description of her as a ‘tart’ previously. In the fourth of these lessons, pupils plan and prepare to write an essay looking at the society of the ranch. They return to the previous ideas about ranch hierarchy and there is opportunity to see if their ideas about the hierarchy have changed now that they have read a little more: you could make this as interactive as you like, depending on the class. I’ve provided a planning sheet with clear paragraph ideas, and an example essay that perfectly matches it: you could use it prior to writing the essay, or use it as a self-assessment tool following essay writing. I’ve created these lessons for GCSE pupils, and they could be easily tweaked up or down to suit your group. Two lessons and an essay plan + example about chapter 4 and Crooks in Of Mice and Men. The first lesson starts with a close look at the opening description of Crooks’ room, asking pupils to pick out lines which give us a clue about his personality from just the first couple of pages. From there, pupils read up to Candy’s arrival in the chapter, and are challenged to consider what themes Crooks teaches us about. Key quotations relating to the themes are picked out, which make for good starters for discussion and are also important quotations for pupils to annotate and learn. From there, pupils answer questions about how Crooks relates to these themes. The second of these lessons focuses more on the novel’s context. Pupils are taught about the Jim Crow laws and the concept of lynching, before going on to read the remainder of the chapter and discussing how we can see evidence of this treatment of black people in the novel. From there, pupils are challenged to plan and write an essay about Crooks and his importance in the novel. These resources include a suggested planning sheet (I’ve written this for a lesson when I know I’ll be absent, so pupils should be able to work through that fairly independently), and the start of an example essay (intro and first two paragraphs). You could use the example in various ways: you could give the opening to pupils and challenge them to carry on, or you could use it as an example once you’ve marked the essays and challenge pupils to improve their own work. I’ve written these lessons for a fairly low ability GCSE class, hence the structured essay plan. You could easily make this more challenging by providing less structure for the essay, or asking them to come up with their own discussion points about how Crooks relates to the novel’s themes. A series of three lessons looking at chapter 4 of the Woman in Black, with a focus on superstition and Kipps’ position as a rational protagonist. These lessons start with a focus on superstitions and ask pupils to consider whether they are superstitious and why (always makes for an interesting discussion!). After reading a section of the chapter, pupils are asked to look at the character Mr Jerome, and then closely consider a passage relating to Kipps and his position as a rational protagonist. The lessons end with a consideration of what various characters think of each other. I’ve done this in three lessons with a LA year 9 class; I imagine you could make it work in two lessons if you wanted to pick up the pace. Two lessons on the first chapter of Of Mice and Men, focusing on Lennie and George’s characters, and what we learn about their dream, relating to context. (These would form my second and third lessons on the novel overall, following an initial introduction to the historical context.) The first of these two lessons includes some close analysis of the opening passage of the novel, asking pupils to pick out language that makes it seem idyllic. Following a section of reading, pupils are asked to analyse some quotations about Lennie and George, considering what we learn about their personalities and their relationship. This is structured for a lower ability class, but this could easily be made more challenging by removing some of the hints and pre-filled boxes on the worksheet. Consistent links are made to historical context throughout, and pupils are asked at the end to find all the evidence they can which suggests these two are typical migrant workers. The lesson ends setting a homework task, writing up their ideas about the characters. NOTE: I tend to start this lesson with a recap on the context learned previously, and there is a nice matching activity here: https://www.teachitenglish.co.uk/resources/ks4/of-mice-and-men-by-john-steinbeck/prose/of-mice-and-men-match-the-contextual-information/8558 I obviously can’t sell it as my own, but it’s pretty useful! The second of these lessons focuses more on the end of the opening chapter of the novel, in which Lennie and George discuss their dreams. After a discussion about dreams, which should be steered towards getting pupils to understand the desire to own stuff and be one’s own boss, read the end of the chapter while noting the ideas about the dream as you go. Pupils can then be split into teams for a game: using the sheet with a list of points about the dream, cut up into separate slips of paper, each team needs to find a quotation that matches each point. It’s a great activity to get pupils thinking about how their evidence actually proves their point, thus improving their analytical writing. Each team sends one member to the teacher to explain their idea, and then is issued the next slip of paper to go and work on. These slips can then be used in the written activity at the end of the lesson. I’ve provided an example paragraph, and focused on discussing the context of the novel as relevant to the question. I’ve designed these lessons for a lower-ability GCSE class, but they could easily be tweaked by removing scaffolds to make them more challenging, and they would be useful at KS3 too for schools who no longer teach OMAM at GCSE level. Two lecture-style lessons for A Level on the context of Brave New World, with the first looking at life at the time, and the second moving onto life since. Across these two lessons, designed for when pupils have already read the book, a range of ideas about historical context are considered. The first looks at what was going on at the time when Huxley was writing, considering mass production, eugenics, and conditioning, whereas the second moves into considering how we have started to move towards that world in the 90 years since Huxley wrote the novel: changes in technology and what it means to be human. Knowledge of context (both when the text was written and has been received) is imperative at A Level and I’ve found both of these lessons have really helped my pupils to get a good grounding in what they need to know. A full series of lessons with powerpoints and resources for a GCSE or KS3 scheme of work on Of Mice and Men. Lessons are adaptable for different abilities. Huge range of activities, including essay-writing, creative writing, quotation hunts, persuasive speeches, and much more. All lessons are complete with all the material you need for success, including model answers for paragraphs, allowing pupils the opportunity to see how a strong answer is put together. I’ve had proven success with this scheme of work with various classes, so I’m pleased to be able to share it. Activities and notes on My Last Duchess which form the basis of two lessons. Includes full annotations of the poem and options of analytical and creative writing. These lessons start with a look at the title of the poem, and then include opportunities to pick information out of the poem, analyse it all together, and then respond. Pupils are asked to pick out what information they have learned about the Duke and the Duchess in the poems: there are two options for this sheet, as one has prompts so that pupils can fill in with just quotations, while another is more challenging without the prompts. You can increase challenge by choosing to do this activity prior to annotating the poem, too, which works well with top sets. Pupils are then asked to imagine that they are the listener, and consider how they would respond to the Duke’s monologue: would you let this man marry again? Again, you could make this more challenging by removing the prompt questions at each stage. There is an opportunity for analytical, essay-style writing at the end (could form the basis of a homework). A series of three lessons on Chapter 1 of The Woman in Black. Focusing on the concept of ghost story, and then moving on to look at close analysis of extracts describing setting. Pupils are engaged by setting the scene, reading a traditional ghost story by firelight (personally I always use the log fire on Netflix to try and recreate this!) and in later lessons analyse two separate extracts in detail. Includes a detailed teacher example of an analytical paragraph, so that progress is scaffolded to support weaker students. A full scheme of work for KS3 on Reginal Rose’s play Twelve Angry Men. This scheme focuses on the characters, and builds up analytical writing skills. This fourteen-lesson SOW gradually builds up writing skills, helping pupils to structure analytical paragraphs and pick out high-value quotations about the characters. One activity to help this is ‘paragraph speed-dating’, in which pupils are given either a point or a quotation, and they need to find their partner: I’ve found this really helps with classes who pluck quotations from the text at random without considering whether they actually evidence the point they’ve made. I’d suggest creating a ‘guilty/not guilty’ scale somewhere in the classroom, and then you can write each juror number on a post-it note and move them around as they change their minds about the boy on trial. This scheme of work builds up to writing two complete essays: one comparing jurors 3 and 8, and another considering whether juror 8 can be considered a hero. A lesson looking at Act 2 Scenes 1 and 2 of Macbeth, with a focus on Macbeth and Lady Macbeth’s differing attitudes towards Duncan’s murder. This lesson takes a look at Macbeth’s hallucination, and later asks pupils to search for quotations summing up Macbeth and Lady Macbeth’s varying responses to the murder of King Duncan, which are recorded on hands! I’ve always found pupils are really engaged in this lesson as it’s a bit different to the usual quotation-hunting. Worksheet good for a homework, asking pupils to write a persuasive letter based on events in Chapter 4 of Animal Farm. Task asks pupils to write a letter persuading other farms to take up Animalism. Sheet provides structure and ideas to include, as well as reminders about layout, paragraphing etc. An introductory lesson on John Steinbeck’s Of Mice and Men, looking at context and asking pupils to consider the lives of migrant workers. The lesson introduces the key terms: American Dream; migrant workers; Great Depression; Dust Bowl; mass migration. Each term is explained as part of the story that led to the historical setting of the novel, with imagery for pupils to reflect on and consider what life must have been like for the people involved: you can make this as interactive as you like, and there’s mileage in printing the photos and asking pupils to look at them to consider what they can learn about the Great Depression from them. Pupils are asked to consider what the dreams and hopes of a migrant worker would be, and there is a structured activity asking pupils to write a diary entry from their perspective, with scaffolded suggestions of paragraph topics. The lesson ends with a quick look at Robbie Burns’ ‘To a Mouse’, to understand the source of the novel’s title. I’ve designed this lesson for a lower-ability GCSE class, but it could definitely work at KS3 too, or be tweaked up to suit higher-attaining pupils. A lesson with poetry annotation on Exposure by Wilfred Owen. This lesson includes detailed analysis and annotation of the poem, and asks some thought-provoking questions. I’ve used this at A Level when teaching the work of Wilfred Owen, but this could also be used at GCSE level.

<urn:uuid:3ab5cf37-7c79-408c-8549-357a2fc398eb>

CC-MAIN-2023-40

https://www.tes.com/teaching-resources/shop/fransarahlowe

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233511053.67/warc/CC-MAIN-20231003024646-20231003054646-00467.warc.gz

en

The 1619 Project's lyrical picture book in verse chronicles the consequences of slavery and the history of Black resistance in the United States, thoughtfully rendered by Pulitzer Prize-winning journalist Nikole Hannah-Jones and Newbery honor-winning author Renee Watson. A young student receives a family tree assignment in school, but she can only trace back three generations. Grandma gathers the whole family, and the student learns that 400 years ago, in 1619, their ancestors were stolen and brought to America by white slave traders. But before that, they had a home, a land, a language. She learns how the people said to be born on the water survived. And the people planted dreams and hope, willed themselves to keep living, living. And the people learned new words for love for friend for family for joy for grow for home. With powerful verse and striking illustrations byNikkolas Smith, Born on the Water provides a pathway for readers of all ages to reflect on the origins of American identity. The 1619 Project K-12 Curriculum GuideThis guide serves as a comprehensive overview of the two 1619 Project books, Born on the Water and A New Origin Story It covers the major themes and key takeaways from each book and explains how they might be used together as well as in tandem with other elements of The 1619 Project to create meaningful learning for students at all grade levels. The 1619 Project Education Materials CollectionIn partnership with The New York Times, the Pulitzer Center is building learning communities around The 1619 Project. We’re developing programs for K12 Classrooms, out-of-school time programs, and higher education programs. Explore this site to find teaching resources, program information, and ways to connect. A fun-filled, action-packed middle grade novel about a boy who learns about protecting the environment, finding real friends, and living in the now while spending the summer on a remote island. Sometimes it's hard to be Milton P. Greene. He says all the wrong things, his family is falling apart, and everyone at school avoids him because of the very embarrassing Bird Brain Incident. But when Milton plays his video game Isle of Wild, he becomes someone else--Sea Hawk, the brave and brilliant naturalist explorer who conquers danger at every turn. Then Milton's parents ship him off to the remote Lone Island for the summer, where his uncle Evan is an environmentalist researcher. The island is chock-full of spectaculous species, and Milton realizes this is his chance to become the brave and brilliant naturalist he's always wanted to be--and even meet some fellow explorers! But as it turns out, the future of the Lone Island is in some pretty serious peril, and the only thing that can save it is a field guide full of cryptic clues. If Milton and his unexpected new friends are going to protect the island, they'll have to trust each other, discover new truths, and embark on a wild and wondrous adventure all their own. The Adventure is Now is a dazzling, fun-filled story from Jess Redman. The Adventure is Now Teacher's GuideThis guide is aligned with Common Core Standards for 5th grade, but it can be applied for grades 3-8. You will find pre-reading questions, questions for each part of the book, big picture questions, and extension activities that include creative writing, research projects, and visual arts. A coming-of-age middle-grade graphic novel featuring a girl with severe allergies who just wants to find the perfect pet! At home, Maggie is the odd one out. Her parents are preoccupied with getting ready for a new baby, and her younger brothers are twins and always in their own world. Maggie loves animals and thinks a new puppy to call her own is the answer, but when she goes to select one on her birthday, she breaks out in hives and rashes. She's severely allergic to anything with fur! Can Maggie outsmart her allergies and find the perfect pet? With illustrations by Michelle Mee Nutter, Megan Wagner Lloyd uses inspiration from her own experiences with allergies to tell a heartfelt story of family, friendship, and finding a place to belong. This 2021 National Jewish Book Award finalist by author Megan Hoyt and illustrator Iacopo Bruno brings to light the inspiring, true story of Gino Bartali, a beloved Italian cyclist and secret champion in the fight for Jewish lives during World War II. Gino Bartali pedaled across Italy for years, winning one cycling race after another, including the 1938 Tour de France. Gino became an international sports hero! But the next year, World War II began, and it changed everything. Soldiers marched into Italy. Tanks rolled down the cobbled streets of Florence. And powerful leaders declared that Jewish people should be arrested. To the entire world, Gino Bartali was merely a champion cyclist. But Gino's greatest achievement was something he never told a soul--that he secretly worked with the Italian resistance to save hundreds of Jewish men, women, and children, and others, from certain death, using the one thing no authority would question: his bicycle. This compelling nonfiction picture book for elementary-age readers offers a unique perspective on World War II history. It's a strong choice for units on the war and for biographies of lesser-known heroes in history and in sports. Girl power scores a goal in this uplifting story of teamwork, new beginnings, and coming together to fight for what's right--perfect for fans of Lisa Graff and Lynda Mullaly Hunt. Bea and her mom have always been a two-person team. But now her mom is marrying Wendell, and their team is growing by three boys, two dogs, and a cat. Finding her place in her new blended family may be tough, but when Bea finds out her school might not get the all-girls soccer team they'd been promised, she learns that the bigger the team, the stronger the fight--and that for the girls to get what they deserve, they're going to need a squad behind them. Lauded as "remarkable" by the New York Times Book Review, Lindsey Stoddard's heartfelt stories continue to garner critical acclaim, and her latest novel will have fans new and old rooting for Bea as she discovers that building a new life doesn't mean leaving her old one behind. In this full-color middle grade graphic memoir for fans of Raina Telgemeier and Jerry Craft, Yehudi Mercado draws inspiration from his childhood struggle with his weight while finding friendship with his imaginary mascot, Chunky, as he navigates growing up in a working class Mexican-Jewish family. Hudi needs to lose weight, according to his doctors. Concerned about the serious medical issue Hudi had when he was younger, his parents push him to try out for sports. Hudi would rather do anything else, but then he meets Chunky, his imaginary friend and mascot. Together, they decide to give baseball a shot. As the only Mexican and Jewish kid in his neighborhood, Hudi has found the cheerleader he never had. Baseball doesn't go well (unless getting hit by the ball counts), but the two friends have a great time drawing and making jokes. While Hudi's parents keep trying to find the right sport for Hudi, Chunky encourages him to pursue his true love--comedy. But when Hudi's dad loses his job, it gets harder for Hudi to chart his own course, even with Chunky's guidance. Can Chunky help Hudi stay true to himself or will this friendship strike out * A TLA Maverick Graphic Novel of the Year * Calling all Raina Telgemeier fans! Introducing an irresistible new middle-grade graphic novel series about growing up, friendship, heroes, and cats (lots of cats!)--perfect for fans of Guts, Awkward and Real Friends (not to mention anyone who loves cats!) Katie is dreading the boring summer ahead while her best friends are all away at camp--something that's way out of Katie and her mom's budget, UNLESS Katie can figure out a way to earn the money for camp herself. But when Katie gets a job catsitting for her mysterious upstairs neighbor, life get interesting. First, Madeline has 217 cats (!) and they're not exactly . . . normal cats. Also, why is Madeline always out EXACTLY when the city's most notorious villain commits crimes?! Is it possible that Katie's upstairs neighbor is really a super villain? Can Katie wrangle a whole lot of wayward cats, save a best friendship (why is Beth barely writing back? And who's this boy she keeps talking about?!), AND crack the biggest story in the city's history? Some heroes have capes . . . Katie has cats! Life on Mars is pretty standard.... until a mysterious virus hits. Don't miss this timely and unputdownable novel from the bestselling author of The Fourteenth Goldfish. Bell has spent his whole life--all eleven years of it--on Mars. But he's still just a regular kid--he loves cats and any kind of cake, and is curious about the secrets the adults in the US colony are keeping. Like, why don't they have contact with anyone on the other Mars colonies? Why are they so isolated? When a virus breaks out and the grown-ups all fall ill, Bell and the other children are the only ones who can help. It's up to Bell--a regular kid in a very different world--to uncover the truth and save his family...and possibly unite an entire planet. Mars may be a world far, far away, but in the hands of Jennifer L. Holm, beloved and bestselling author of The Fourteenth Goldfish, it can't help but feel like home. From award-winning author Eve L. Ewing comes an illustrated middle grade novel about a forgotten homemade robot who comes to life just when aspiring fifth-grade scientist Maya needs a friend -- and a science fair project. Maya's nervous about fifth grade. She tries to keep calm by reminding herself she knows what to expect. But then she learns that this year won't be anything like the last. For the first time since kindergarten, her best friends Jada and MJ are placed in a different class without her, and introverted Maya has trouble making new friends. She tries to put on a brave face since they are in fifth grade now, but Maya is nervous! Just when too much seems to be changing, she finds a robot named Ralph in the back of Mr. Mac's convenience store closet. Once she uses her science skills to get him up and running, a whole new world of connection opens up as Ralph becomes a member of her family and Maya begins to step into her power. In this touching novel, Eve L. Ewing melds together a story about community, adapting to change, and the magic of ingenuity that reminds young readers that they can always turn to their own curiosity when feeling lost. A lyrically told, exquisitely illustrated biography of influential Jewish artist and activist Ben Shahn A 2022 Robert F. Sibert Informational Book Medal Winner A 2022 Association of Jewish Libraries Sydney Taylor Book Award Notable Picture Book "The first thing I can remember," Ben said, "I drew." As an observant child growing up in Lithuania, Ben Shahn yearns to draw everything he sees--and, after seeing his father banished by the Czar for demanding workers' rights, he develops a keen sense of justice, too. So when Ben and the rest of his family make their way to America, Ben brings both his sharp artistic eye and his desire to fight for what's right. As he grows, he speaks for justice through his art--by disarming classmates who bully him because he's Jewish, by defying his teachers' insistence that he paint beautiful landscapes rather than true stories, by urging the US government to pass Depression-era laws to help people find food and jobs. In this moving and timely portrait, award-winning author Cynthia Levinson and illustrator Evan Turk honor an artist, immigrant, and activist whose work still resonates today: a true painter for the people. "With a deft hand, Johnson shows us there's no such thing as "too young" when it comes to questioning big ideas like manhood, or even family." -Jason Reynolds, New York Times bestselling author of Look Both Ways and Stamped Literary powerhouse and Coretta Scott King Honor- and Boston Globe / Horn Book Honor-winning author of The Parker Inheritance Varian Johnson explores themes of toxic masculinity and family legacy in this heartfelt, hopeful story of one boy discovering what it really means to be a man. SECRETS ARE ALWAYS A GAMBLE Ten-year-old Anthony Joplin has made it to double digits! Which means he's finally old enough to play in the spades tournament every Joplin Man before him seems to have won. So while Ant's friends are stressing about fifth grade homework and girls, Ant only has one thing on his mind: how he'll measure up to his father's expectations at the card table. Then Ant's best friend gets grounded, and he's forced to find another spades partner. And Shirley, the new girl in his class, isn't exactly who he has in mind. She talks a whole lot of trash -- way more than his old partner. Plus, he's not sure that his father wants him playing with a girl. But she's smart and tough and pretty, and knows every card trick in the book. So Ant decides to join forces with Shirley -- and keep his plans a secret. Only it turns out secrets are another Joplin Man tradition. And his father is hiding one so big it may tear their family apart... Book Discussion GuideThis resource was developed by CU students for the 2021 Children’s Book Festival hosted by the University of Colorado Boulder’s School of Education and Boulder Book Store. It is an open educational resource. This heartfelt picture book biography illustrated by the Caldecott Honoree Ekua Holmes, tells the story of MaVynee Betsch, an African American opera singer turned environmentalist and the legacy she preserved. MaVynee loved going to the beach. But in the days of Jim Crow, she couldn't just go to any beach--most of the beaches in Jacksonville were for whites only. Knowing something must be done, her grandfather bought a beach that African American families could enjoy without being reminded they were second class citizens; he called it American Beach. Artists like Zora Neale Hurston and Ray Charles vacationed on its sunny shores. It's here that MaVynee was first inspired to sing, propelling her to later become a widely acclaimed opera singer who routinely performed on an international stage. But her first love would always be American Beach. After the Civil Rights Act desegregated public places, there was no longer a need for a place like American Beach and it slowly fell into disrepair. MaVynee remembered the importance of American Beach to her family and so many others, so determined to preserve this integral piece of American history, she began her second act as an activist and conservationist, ultimately saving the place that had always felt most like home. Educator GuideWith input from a STEM-certified administrator and K-5 elementary teacher, the guide features research-based strategies and activities that can be integrated across the curriculum on topics such as environmentalism, music, resilience, art, citizenship, and African American history. * "Nguyen's heartfelt tale is perfect for animal-loving fans of Katherine Applegate's The One and Only Ivan and Rosanne Parry's A Wolf Called Wander."--School Library Journal, starred review A middle grade graphic novel adventure based on a true story, in which a young conservationist overcomes the odds to save and return a sun bear to its natural habitat. When endlessly curious and tenacious Chang discovers a bear bile farm near her home in Vietnam, she decides to do everything she can to save wild animals--by becoming a conservationist! After teaching herself survival skills, documenting each rainforest plant and animal she sees in her field notebook, and disproving the critics who think she isn't old enough or strong enough, Chang is finally accepted as a rescue center volunteer. But her toughest challenge yet comes when she's tasked with returning Sorya--the sun bear she raised from infancy--back into the wild. Because despite being a different species, Sorya is Chang's best friend. And letting a friend go is never easy . . . even when it's the right thing to do. With breathtaking art and STEM facts galore, Chang's daring story is for any young reader, animal lover, and intrepid explorer! TeachingBooks GuidePlease note that access to this guide requires a free TeachingBooks account. "Shark Summer is bursting with vibrant, expressive art....The characters are distinct and relatable...It's a lovely read!"--Molly Knox Ostertag, author of the Witch Boy series "Eloquently chronicled in Marcks's cinematic panels, friendships are formed and repaired, parental relationships articulated, and inner conflicts expressed and resolved. A winning production." --Kirkus When a Hollywood film crew arrives on Martha's Vineyard with a mechanical shark and a youth film contest boasting a huge cash prize, disgraced pitcher Gayle "Blue Streak" Briar sees a chance to turn a bad season into the best summer ever. After recruiting aspiring cinematographer Elijah Jones and moody director Maddie Grey, Gayle and her crew set out to uncover the truth of the island's own phantom shark and win the prize money. But these unlikely friends are about to discover what happens when you turn your camera toward the bad things lurking below the surface. In 1964, Shirley Chisholm took her voice and leadership to politics, becoming the first Black woman elected to the New York State Assembly, and the first Black woman elected to Congress. Then in 1972, she became the first Black woman to seek the presidency of the United States.Shirley Chisholm, a woman of many firsts, was an unforgettable political trailblazer, a candidate of the people and 'catalyst of change' who opened the door for women in the political arena and for the first Black president of the United States A humorous and heartwarming bounce-to-the-beat underdog story about a young rapper whose rhymes help bring his community together, from America's favorite rapping teacher. As featured on Good Morning America! Eleven-year-old Simon Barnes dreams of becoming a world-famous rapper that everyone calls Notorious D.O.G. But for now, he's just a Chicago fifth grader who's small for his age and afraid to use his voice. Simon prefers to lay low at school and at home, even though he's constantly spitting rhymes in his head. But when his new teacher assigns the class an oral presentation on something that affects their community, Simon must face his fears. With some help from an unexpected ally and his neighborhood crew, will Simon gain the confidence to rap his way to an A and prove that one kid can make a difference in his 'hood? Dwayne Reed is a Chicago teacher, whose viral back-to-school music video "Welcome to the 4th Grade" took the internet by storm. His debut novel, Simon B. Rhymin' , inspires young readers everywhere to use their voice to create change within their communities. Can Sona be the best big sister ever when she's not sure she even wants a baby sister or brother? Brimming with warmth and charm, this story set in India will resonate with new older siblings everywhere. Sona Sharma's house is full of three generations of people who joke often and argue sometimes. Relatives come over unannounced, the phone rings frequently, and friends drop by all the time. Then one day Amma tells Sona that she is going to have a baby. Is that good? Sona isn't so sure. She doesn't want to share her room or her things with a new baby, not to mention the attention of Amma, Appa, Thatha, and Paatti. And despite Amma's assurance that the sky always has room for new stars, Sona doesn't feel stretchy or bighearted like the sky. But when she learns there will be a baby-naming ceremony, she's determined to find the best name for her new brother or sister--one as nice as her own, a Hindi word for "gold." Perfectly pitched to young readers, this tale of warming up to change is followed by a glossary of words from India to explore in the story. May/June 2021 Kids' Indie Next List · Featured in Today Show's AAPI Heritage Month list · A Kirkus Children's Best Book of 2021 · A National Council of Teachers of English Notable Verse Novel · Jane Addams 2022 Children's Book Award Finalist · 2021 Nerdie Award Winner · 2021 Muslim Bookstagram Award Winner For fans of Other Words for Home and Front Desk, this powerful, charming immigration story follows a girl who moves from Karachi, Pakistan, to Peachtree City, Georgia, and must find her footing in a new world. Reem Faruqi is the ALA Notable author of award-winning Lailah's Lunchbox. "A lyrical coming of age story exploring family, immigration, and most of all belonging." --Aisha Saeed, New York Times bestselling author of Amal Unbound "This empowering story will resonate with people who have struggled to both fit in and stay true to themselves." --Veera Hiranandani, Newbery Honor author of The Night Diary "A gorgeously written story, filled with warmth and depth." --Hena Khan, author of Amina's Voice When her family moves from Pakistan to Peachtree City, all Nurah wants is to blend in, yet she stands out for all the wrong reasons. Nurah's accent, floral-print kurtas, and tea-colored skin make her feel excluded, until she meets Stahr at swimming tryouts. And in the water Nurah doesn't want to blend in. She wants to win medals like her star athlete brother, Owais--who is going through struggles of his own in the U.S. Yet when sibling rivalry gets in the way, she makes a split-second decision of betrayal that changes their fates. Ultimately Nurah slowly gains confidence in the form of strong swimming arms, and also gains the courage to stand up to bullies, fight for what she believes in, and find her place. Winner of the Coretta Scott King Book Awards for Author and Illustrator A Caldecott Honor Book A Sibert Honor Book Longlisted for the National Book Award A Kirkus Prize Finalist A Boston Globe-Horn Book Honor Book "A must-have"--Booklist (starred review) Celebrated author Carole Boston Weatherford and illustrator Floyd Cooper provide a powerful look at the Tulsa Race Massacre, one of the worst incidents of racial violence in our nation's history. The book traces the history of African Americans in Tulsa's Greenwood district and chronicles the devastation that occurred in 1921 when a white mob attacked the Black community. News of what happened was largely suppressed, and no official investigation occurred for seventy-five years. This picture book sensitively introduces young readers to this tragedy and concludes with a call for a better future. Download the free educator guide here: https://lernerbooks.com/download/unspeakableteachingguide From #1 New York Times bestseller Katherine Applegate, a singular middle-grade novel about a girl who risks everything to help a handmade creature who comes to life. The earth is old and we are not, and that is all you must remember . . . Eleven-year-old Willodeen adores creatures of all kinds, but her favorites are the most unlovable beasts in the land: strange beasts known as "screechers." The villagers of Perchance call them pests, even monsters, but Willodeen believes the animals serve a vital role in the complicated web of nature. Lately, though, nature has seemed angry indeed. Perchance has been cursed with fires and mudslides, droughts and fevers, and even the annual migration of hummingbears, a source of local pride and income, has dwindled. For as long as anyone can remember, the tiny animals have overwintered in shimmering bubble nests perched atop blue willow trees, drawing tourists from far and wide. This year, however, not a single hummingbear has returned to Perchance, and no one knows why. When a handmade birthday gift brings unexpected magic to Willodeen and her new friend, Connor, she's determined to speak up for the animals she loves, and perhaps even uncover the answer to the mystery of the missing hummingbears. A timely and timeless tale about our fragile earth, and one girl's fierce determination to make a difference.

<urn:uuid:3c948cc2-4b75-4dd6-92fe-6debc37e88cf>

CC-MAIN-2023-40

https://olis-ri.libguides.com/ricba/2023

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506399.24/warc/CC-MAIN-20230922102329-20230922132329-00768.warc.gz

en

A ballad is a form of verse, often a narrative set to music. Ballads derive from the medieval French chanson balladée or ballade, which were originally "dance songs". Ballads were particularly characteristic of the popular poetry and song of Britain and Ireland from the Late Middle Ages until the 19th century. They were widely used across Europe, and later in Australia, North Africa, North America and South America. While ballads have no prescribed structure and may vary in their number of lines and stanzas, many ballads employ quatrains with ABCB or ABAB rhyme schemes, the key being a rhymed second and fourth line. Contrary to a popular conception, it is rare if not unheard-of for a ballad to contain exactly 13 lines. Additionally, couplets rarely appear in ballads. Many ballads were written and sold as single-sheet broadsides. The form was often used by poets and composers from the 18th century onwards to produce lyrical ballads. In the later 19th century, the term took on the meaning of a slow form of popular love song and is often used for any love song, particularly the sentimental ballad of pop or rock music, although the term is also associated with the concept of a stylized storytelling song or poem, particularly when used as a title for other media such as a film. A ballad is a form of verse, often a narrative set to music. Ballads derive from the medieval French chanson balladée or ballade, which were originally "dancing songs" (L: ballare, to dance), yet becoming "stylized forms of solo song" before being adopted in England. As a narrative song, their theme and function may originate from Scandinavian and Germanic traditions of storytelling that can be seen in poems such as Beowulf. Musically they were influenced by the Minnelieder of the Minnesang tradition. The earliest example of a recognizable ballad in form in England is "Judas" in a 13th-century manuscript. Ballads were originally written to accompany dances, and so were composed in couplets with refrains in alternate lines. These refrains would have been sung by the dancers in time with the dance. Most northern and west European ballads are written in ballad stanzas or quatrains (four-line stanzas) of alternating lines of iambic (an unstressed followed by a stressed syllable) tetrameter (eight syllables) and iambic trimeter (six syllables), known as ballad meter. Usually, only the second and fourth line of a quatrain are rhymed (in the scheme a, b, c, b), which has been taken to suggest that, originally, ballads consisted of couplets (two lines) of rhymed verse, each of 14 syllables. This can be seen in this stanza from "Lord Thomas and Fair Annet": The horse | fair Ann | et rode | upon | He amb | led like | the wind |, With sil | ver he | was shod | before, With burn | ing gold | behind |. There is considerable variation on this pattern in almost every respect, including length, number of lines and rhyming scheme, making the strict definition of a ballad extremely difficult. In southern and eastern Europe, and in countries that derive their tradition from them, ballad structure differs significantly, like Spanish romanceros, which are octosyllabic and use consonance rather than rhyme. Ballads usually are heavily influenced by the regions in which they originate and use the common dialect of the people. Scotland's ballads in particular, both in theme and language, are strongly characterised by their distinctive tradition, even exhibiting some pre-Christian influences in the inclusion of supernatural elements such as travel to the Fairy Kingdom in the Scots ballad "Tam Lin". The ballads do not have any known author or correct version; instead, having been passed down mainly by oral tradition since the Middle Ages, there are many variations of each. The ballads remained an oral tradition until the increased interest in folk songs in the 18th century led collectors such as Bishop Thomas Percy (1729–1811) to publish volumes of popular ballads. In all traditions most ballads are narrative in nature, with a self-contained story, often concise, and rely on imagery, rather than description, which can be tragic, historical, romantic or comic. Themes concerning rural labourers and their sexuality are common, and there are many ballads based on the Robin Hood legend. Another common feature of ballads is repetition, sometimes of fourth lines in succeeding stanzas, as a refrain, sometimes of third and fourth lines of a stanza and sometimes of entire stanzas. Scholars of ballads have been divided into "communalists", such as Johann Gottfried Herder (1744–1803) and the Brothers Grimm, who argue that ballads are originally communal compositions, and "individualists" such as Cecil Sharp, who assert that there was one single original author. Communalists tend to see more recent, particularly printed, broadside ballads of known authorship as a debased form of the genre, while individualists see variants as corruptions of an original text. More recently scholars have pointed to the interchange of oral and written forms of the ballad. The transmission of ballads comprises a key stage in their re-composition. In romantic terms this process is often dramatized as a narrative of degeneration away from the pure 'folk memory' or 'immemorial tradition'. In the introduction to Minstrelsy of the Scottish Border (1802) the romantic poet and historical novelist Walter Scott argued a need to 'remove obvious corruptions' in order to attempt to restore a supposed original. For Scott, the process of multiple recitations 'incurs the risk of impertinent interpolations from the conceit of one rehearser, unintelligible blunders from the stupidity of another, and omissions equally to be regretted, from the want of memory of a third.' Similarly, John Robert Moore noted 'a natural tendency to oblivescence'. European Ballads have been generally classified into three major groups: traditional, broadside and literary. In America a distinction is drawn between ballads that are versions of European, particularly British and Irish songs, and 'Native American ballads', developed without reference to earlier songs. A further development was the evolution of the blues ballad, which mixed the genre with Afro-American music. For the late 20th century the music publishing industry found a market for what are often termed sentimental ballads, and these are the origin of the modern use of the term 'ballad' to mean a slow love song. The traditional, classical or popular (meaning of the people) ballad has been seen as beginning with the wandering minstrels of late medieval Europe. From the end of the 15th century there are printed ballads that suggest a rich tradition of popular music. A reference in William Langland's Piers Plowman indicates that ballads about Robin Hood were being sung from at least the late 14th century and the oldest detailed material is Wynkyn de Worde's collection of Robin Hood ballads printed about 1495. Early collections of English ballads were made by Samuel Pepys (1633–1703) and in the Roxburghe Ballads collected by Robert Harley, (1661–1724), which paralleled the work in Scotland by Walter Scott and Robert Burns. Inspired by his reading as a teenager of Reliques of Ancient English Poetry by Thomas Percy, Scott began collecting ballads while he attended Edinburgh University in the 1790s. He published his research from 1802 to 1803 in a three-volume work, Minstrelsy of the Scottish Border. Burns collaborated with James Johnson on the multi-volume Scots Musical Museum, a miscellany of folk songs and poetry with original work by Burns. Around the same time, he worked with George Thompson on A Select Collection of Original Scottish Airs for the Voice. Both Northern English and Southern Scots shared in the identified tradition of Border ballads, particularly evinced by the cross-border narrative in versions of "The Ballad of Chevy Chase" sometimes associated with the Lancashire-born sixteenth-century minstrel Richard Sheale. It has been suggested that the increasing interest in traditional popular ballads during the eighteenth century was prompted by social issues such as the enclosure movement as many of the ballads deal with themes concerning rural laborers. James Davey has suggested that the common themes of sailing and naval battles may also have prompted the use (at least in England) of popular ballads as naval recruitment tools. Key work on the traditional ballad was undertaken in the late 19th century in Denmark by Svend Grundtvig and for England and Scotland by the Harvard professor Francis James Child. They attempted to record and classify all the known ballads and variants in their chosen regions. Since Child died before writing a commentary on his work it is uncertain exactly how and why he differentiated the 305 ballads printed that would be published as The English and Scottish Popular Ballads. There have been many different and contradictory attempts to classify traditional ballads by theme, but commonly identified types are the religious, supernatural, tragic, love ballads, historic, legendary and humorous. The traditional form and content of the ballad were modified to form the basis for twenty-three bawdy pornographic ballads that appeared in the underground Victorian magazine The Pearl, which ran for eighteen issues between 1879 and 1880. Unlike the traditional ballad, these obscene ballads aggressively mocked sentimental nostalgia and local lore. Broadside ballads (also known as 'broadsheet', 'stall', 'vulgar' or 'come all ye' ballads) were a product of the development of cheap print in the 16th century. They were generally printed on one side of a medium to large sheet of poor quality paper. In the first half of the 17th century, they were printed in black-letter or gothic type and included multiple, eye-catching illustrations, a popular tune title, as well as an alluring poem. By the 18th century, they were printed in white letter or roman type and often without much decoration (as well as tune title). These later sheets could include many individual songs, which would be cut apart and sold individually as "slip songs." Alternatively, they might be folded to make small cheap books or "chapbooks" which often drew on ballad stories. They were produced in huge numbers, with over 400,000 being sold in England annually by the 1660s. Tessa Watt estimates the number of copies sold may have been in the millions. Many were sold by travelling chapmen in city streets or at fairs. The subject matter varied from what has been defined as the traditional ballad, although many traditional ballads were printed as broadsides. Among the topics were love, marriage, religion, drinking-songs, legends, and early journalism, which included disasters, political events and signs, wonders and prodigies. Literary or lyrical ballads grew out of an increasing interest in the ballad form among social elites and intellectuals, particularly in the Romantic movement from the later 18th century. Respected literary figures Robert Burns and Walter Scott in Scotland collected and wrote their own ballads. Similarly in England William Wordsworth and Samuel Taylor Coleridge produced a collection of Lyrical Ballads in 1798 that included Coleridge's The Rime of the Ancient Mariner. Wordsworth, Coleridge, and Keats were attracted to the simple and natural style of these folk ballads and tried to imitate it. At the same time in Germany Goethe cooperated with Schiller on a series of ballads, some of which were later set to music by Schubert. Later important examples of the poetic form included Rudyard Kipling's "Barrack-Room Ballads" (1892-6) and Oscar Wilde's The Ballad of Reading Gaol (1897). In the 18th century ballad operas developed as a form of English stage entertainment, partly in opposition to the Italian domination of the London operatic scene. It consisted of racy and often satirical spoken (English) dialogue, interspersed with songs that are deliberately kept very short to minimize disruptions to the flow of the story. Rather than the more aristocratic themes and music of the Italian opera, the ballad operas were set to the music of popular folk songs and dealt with lower-class characters. Subject matter involved the lower, often criminal, orders, and typically showed a suspension (or inversion) of the high moral values of the Italian opera of the period. The first, most important and successful was The Beggar's Opera of 1728, with a libretto by John Gay and music arranged by John Christopher Pepusch, both of whom probably influenced by Parisian vaudeville and the burlesques and musical plays of Thomas d'Urfey (1653–1723), a number of whose collected ballads they used in their work. Gay produced further works in this style, including a sequel under the title Polly. Henry Fielding, Colley Cibber, Arne, Dibdin, Arnold, Shield, Jackson of Exeter, Hook and many others produced ballad operas that enjoyed great popularity. Ballad opera was attempted in America and Prussia. Later it moved into a more pastoral form, like Isaac Bickerstaffe's Love in a Village (1763) and Shield's Rosina (1781), using more original music that imitated, rather than reproduced, existing ballads. Although the form declined in popularity towards the end of the 18th century its influence can be seen in light operas like that of Gilbert and Sullivan's early works like The Sorcerer as well as in the modern musical. In the 20th century, one of the most influential plays, Kurt Weill and Bertolt Brecht's (1928) The Threepenny Opera was a reworking of The Beggar's Opera, setting a similar story with the same characters, and containing much of the same satirical bite, but only using one tune from the original. The term ballad opera has also been used to describe musicals using folk music, such as The Martins and the Coys in 1944, and Peter Bellamy's The Transports in 1977. The satiric elements of ballad opera can be seen in some modern musicals such as Chicago and Cabaret. Some 300 ballads sung in North America have been identified as having origins in Scottish traditional or broadside ballads. Examples include 'The Streets of Laredo', which was found in Britain and Ireland as 'The Unfortunate Rake'; however, a further 400 have been identified as originating in America, including among the best known, 'The Ballad of Davy Crockett' and 'Jesse James'. They became an increasing area of interest for scholars in the 19th century and most were recorded or catalogued by George Malcolm Laws, although some have since been found to have British origins and additional songs have since been collected. They are usually considered closest in form to British broadside ballads and in terms of style are largely indistinguishable, however, they demonstrate a particular concern with occupations, journalistic style and often lack the ribaldry of British broadside ballads. The blues ballad has been seen as a fusion of Anglo-American and Afro-American styles of music from the 19th century. Blues ballads tend to deal with active protagonists, often anti-heroes, resisting adversity and authority, but frequently lacking a strong narrative and emphasising character instead. They were often accompanied by banjo and guitar which followed the blues musical format. The most famous blues ballads include those about John Henry and Casey Jones. The ballad was taken to Australia by early settlers from Britain and Ireland and gained particular foothold in the rural outback. The rhyming songs, poems and tales written in the form of ballads often relate to the itinerant and rebellious spirit of Australia in The Bush, and the authors and performers are often referred to as bush bards. The 19th century was the golden age of bush ballads. Several collectors have catalogued the songs including John Meredith whose recording in the 1950s became the basis of the collection in the National Library of Australia. The songs tell personal stories of life in the wide open country of Australia. Typical subjects include mining, raising and droving cattle, sheep shearing, wanderings, war stories, the 1891 Australian shearers' strike, class conflicts between the landless working class and the squatters (landowners), and outlaws such as Ned Kelly, as well as love interests and more modern fare such as trucking. The most famous bush ballad is "Waltzing Matilda", which has been called "the unofficial national anthem of Australia". Sentimental ballads, sometimes called "tear-jerkers" or "drawing-room ballads" owing to their popularity with the middle classes, had their origins in the early "Tin Pan Alley" music industry of the later 19th century. They were generally sentimental, narrative, strophic songs published separately or as part of an opera (descendants perhaps of broadside ballads, but with printed music, and usually newly composed). Such songs include "Little Rosewood Casket" (1870), "After the Ball" (1892) and "Danny Boy". The association with sentimentality led to the term "ballad" being used for slow love songs from the 1950s onwards. Modern variations include "jazz ballads", "pop ballads", "rock ballads", "R&B ballads" and "power ballads". - Apel, Willi (December 20, 1944). "Harvard Dictionary Of Music" – via Internet Archive. - J. E. Housman, British Popular Ballads (1952, London: Ayer Publishing, 1969), p. 15. - A. Jacobs, A Short History of Western Music (Penguin 1972, 1976), p. 20. - A. N. Bold, The Ballad (Routledge, 1979), p. 5. - "Popular Ballads", The Broadview Anthology of British Literature: The Restoration and the Eighteenth Century, p. 610. - D. Head and I. Ousby, The Cambridge Guide to Literature in English (Cambridge University Press, 2006), p. 66. - T. A. Green, Folklore: An Encyclopedia of Beliefs, Customs, Tales, Music, and Art (ABC-CLIO, 1997), p. 81. - "Popular Ballads" The Broadview Anthology of British Literature: The Restoration and the Eighteenth Century, pp. 610-17. - "Songs of Protest, Songs of Love: Popular Ballads in Eighteenth-Century Britain | Reviews in History". www.history.ac.uk. Retrieved 2017-12-12. - M. Hawkins-Dady, Reader's Guide to Literature in English (Taylor & Francis, 1996), p. 54. - T. A. Green, Folklore: An Encyclopedia of Beliefs, Customs, Tales, Music, and Art (ABC-CLIO, 1997), p. 353. - Ruth Finnegan, Oral Poetry: Its Nature, Significance and Social Context (Cambridge University Press, 1977), p. 140. - "The Influence of transmission on the English Ballads", Modern Language Review 11 (1916), p. 387. - B. Sweers, Electric Folk: The Changing Face of English Traditional Music (Oxford: Oxford University Press, 2005), p. 45. - Gregory, E. David (April 13, 2006). Victorian Songhunters: The Recovery and Editing of English Vernacular Ballads and Folk Lyrics, 1820-1883. Scarecrow Press. pp. 42–43. ISBN 978-1-4616-7417-7. Retrieved August 30, 2017. - D. Gregory, '"The Songs of the People for Me": The Victorian Rediscovery of Lancashire Vernacular Song', Canadian Folk Music/Musique folklorique canadienne, 40 (2006), pp. 12-21. - Robin Ganev,Songs of Protest, Songs of Love: Popular Ballads in 18th Century Britain - "Talk examines ballads and naval recruitment in the 18th century - 2011 News - Articles - News - University of Greenwich Business and Enterprise". Archived from the original on 2012-10-24. Retrieved 2012-08-07. - T. A. Green, Folklore: An Encyclopedia of Beliefs, Customs, Tales, Music, and Art (ABC-CLIO, 1997), p. 352. - Thomas J. Joudrey, "Against Communal Nostalgia: Reconstructing Sociality in the Pornographic Ballad," Victorian Poetry 54.4 (2017). - E. Nebeker, "The Heyday of the Broadside Ballad", English Broadside Ballad Archive, University of California-Santa Barbara, retrieved 15 August 2011. - G. Newman and L. E. Brown, Britain in the Hanoverian Age, 1714–1837: An Encyclopedia (Taylor & Francis, 1997), pp. 39-40. - B. Capp, 'Popular literature', in B. Reay, ed., Popular Culture in Seventeenth-Century England (Routledge, 1985), p. 199. - T. Watt, Cheap Print and Popular Piety, 1550-1640 (Cambridge University Press, 1991), p. 11. - M. Spufford, Small Books and Pleasant Histories: Popular Fiction and Its Readership in Seventeenth-Century England (Cambridge University Press, 1985), pp. 111-28. - B. Capp, 'Popular literature', in B. Reay, ed., Popular Culture in Seventeenth-Century England (Routledge, 1985), p. 204. - J. R. Williams, The Life of Goethe (Blackwell Publishing, 2001), pp. 106-8. - S. Ledger, S. McCracken, Cultural Politics at the Fin de Siècle (Cambridge University Press, 1995), p. 152. - M. Lubbock, The Complete Book of Light Opera (New York: Appleton-Century-Crofts, 1962) pp. 467-68. - "Ballad opera", Encyclopædia Britannica, retrieved 7 April 2015. - F. Kidson, The Beggar's Opera: Its Predecessors and Successors (Cambridge University Press, 1969), p. 71. - M. Lubbock, The Complete Book of Light Opera (New York: Appleton-Century-Crofts, 1962), pp. 467-68. - G. Wren, A Most Ingenious Paradox: The Art of Gilbert and Sullivan (Oxford University Press, 2006), p. 41. - K. Lawrence, Decolonizing Tradition: New Views of Twentieth-century "British" Literary Canons (University of Illinois Press, 1992), p. 30. - A. J. Aby and P. Gruchow, The North Star State: A Minnesota History Reader, (Minnesota Historical Society Press, 2002), p. 461. - L. Lehrman, Marc Blitzstein: A Bio-bibliography (Greenwood, 2005), p. 568. - N. Cohen, Folk Music: a Regional Exploration (Greenwood, 2005), pp. 14-29. - Kerry O'Brien December 10, 2003 7:30 Report, abc.net.au Archived 2010-01-10 at the Wayback Machine - G. Smith, Singing Australian: A History of Folk and Country Music (Pluto Press Australia, 2005), p. 2. - Who'll come a waltzing Matilda with me?", The National Library of Australia, retrieved 14 March 2008. - N. Cohen, Folk Music: a Regional Exploration (Greenwood, 2005), p. 297. References and further reading - Dugaw, Dianne. Deep Play: John Gay and the Invention of Modernity. Newark, Del.: University of Delaware Press, 2001. Print. - Middleton, Richard (13 January 2015) . "Popular Music (I)". Grove Music Online (8th ed.). Oxford University Press. ISBN 978-1-56159-263-0. - Randel, Don (1986). The New Harvard Dictionary of Music. Cambridge: Harvard University Press. ISBN 0-674-61525-5. - Temperley, Nicholas (25 July 2013) . "Ballad (from Lat. ballare: 'to dance')". Grove Music Online (8th ed.). Oxford University Press. ISBN 978-1-56159-263-0. - Winton, Calhoun. John Gay and the London Theatre. Lexington: University Press of Kentucky, 1993. Print. - Witmer, Robert (14 October 2011) [20 January 2002]. "Ballad (jazz)". Grove Music Online (8th ed.). Oxford University Press. ISBN 978-1-56159-263-0. - Marcello Sorce Keller, "Sul castel di mirabel: Life of a Ballad in Oral Tradition and Choral Practice", Ethnomusicology, XXX(1986), no. 3, 449- 469. - The British Literary Ballads Archive - The Bodleian Library Ballad Collection: view facsimiles of printed ballads - The English Broadside Ballad Archive: searchable database of ballad images, citations, and recordings - Welsh Ballads resource guide - The Traditional Ballad Index - Black-letter Broadside Ballads Of The years 1595-1639 From the Collection of Samuel Pepys - Smithsonian Global Sound: The Music of Poetry—audio samples of poems, hymns and songs in ballad meter. - The Oxford Book of Ballads, complete 1910 book by Arthur Quiller-Couch - English Broadside Ballad Archive—an archive of images and recordings of over 4,000 pre-1700 broadside ballads - A Book of Old English Ballads public domain audiobook at LibriVox

<urn:uuid:03aee496-6712-4e00-b1ed-74986b1ac895>

CC-MAIN-2023-40

https://en.wikipedia.org/wiki/Ballads

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510481.79/warc/CC-MAIN-20230929022639-20230929052639-00569.warc.gz

en

Students often respond with confusion to questions about social class—not surprising given the common assumption that the US is a “classless society.” The fog surrounding class stratification makes it difficult to teach about economic inequality. Why is class so challenging to teach about? Compared with race or gender, class is less obviously inscribed on the body and more poorly understood, with more gray areas and fewer shared terms for social categories, making identity development a slower and more fraught process. Class background profoundly affects an individual’s social standpoint (Collins 2000), but most students have only a latent class identity that they have rarely discussed with anyone. In our decades of work, both as classroom teachers and as facilitators of Freirian popular education workshops (Freire 1970) for community groups through the nonprofit organization Class Action, we have found it constructive to ground conversations in the lived experience of class — not just workplace experience, but students’ and their parents’ educations, parents’ occupations, type of neighborhood and housing, and so on. Before asking students to disclose their class backgrounds, teachers and facilitators can create a welcoming atmosphere by sharing their own class stories from a subject position (Green 2003). In our experience this mutual disclosure creates an electric learning environment (Adams and Bell 2007). However, there are pitfalls in educators self-revealing their class backgrounds, as we have each found in our educational practice. We are a mixed-class pair of co-authors, one from a poverty background, one from an upper-middle-class background. In this article, we first describe why class disclosure is worth attempting, then we unpack its risks and difficulties and make recommendations. We offer strategies and insights for readers to adapt these methods into their own personal pedagogical practice, while acknowledging the limited nature of any single teacher’s class background. In Teaching to Transgress (1994), bell hooks suggests that education is a “location of possibility,” noting that “we have the opportunity to labor for freedom, to demand of ourselves and our comrades an openness of mind and heart that allows us to face reality even as we collectively imagine ways to move beyond boundaries to transgress.” This liberatory spirit underlies the pedagogical approach in this article. By fostering cross-class dialogue among students from varied class backgrounds, educators can spark a lively interest in economic inequality, and students and educators can together identify and demystify class privilege and oppression. Acknowledging class diversity invites students of varying backgrounds to feel they have a place in the conversation and a responsibility to be engaged and take action for change. Why it’s important for educators to share their class stories By sharing their personal experiences with the class system, educators can encourage students to see classist behavior and inequitable class systems as directly linked to themselves and those they interact with. If student disclosure follows educator disclosure, then the pedagogical tool of story sharing creates space for student introspection that moves beyond the textbook, making visible the often imperceptible realities of classist systems. As students combine discovery of empirical knowledge of the wider world with dialogue and self-discovery, they come to a fuller understanding of the U.S. class system. When the educational goals include generating commitment to work for social justice, the immediacy and humanity of discussing first-person lived experience is essential to raising empathetic awareness of any system of oppression. But this is especially true for social class inequality. In teaching gender, we’ve found it easy to draw out students’ experiences with gender-binary socialization. In teaching race, it may be a touchy subject, but once reluctance is overcome, students do in fact have racial identities and experiences to share of racism and cross-race interactions. But with class, most undergraduates and adult learners have not been categorizing their life experiences and relationships in class terms, and do not have a manifest class identity. As a result, when educators attempt to ask evocative questions to generate class-related memories, learners frequently report confusion. Many conflate race and class, for example using the terms “black and white” to refer to the class makeup of their hometown, which renders invisible both professionals of color and white working-class and poor people. Talking about class is often fraught with deep emotions. Shame, guilt and fear of being judged often inhibit learners from revealing their class stories and fully understanding the experiences of others, particularly for residential college students, who may be experiencing a mixed-class social situation for the first time. In addition, because class identities shift over time as workplace, financial and family situations change, it can be difficult for students to fully identifying with one particular class. Because of these difficulties in teaching about social class, it’s important to teach it in a personal way, based on lived experience. The multidimensional and intersectional approach taken by the Working Class Studies Association (Zandy 2001; Linkon and Russo 2005) and Class Action encompasses class dynamics in workplaces, schools, families, neighborhoods, unions, activism, culture, psychology and literature, among other areas of life. However, this approach is rare within the field of sociology. Most “race, class and gender” textbooks include only economic topics in the class section, or in some cases have no class section at all, making the word “class” serve the grammatical function of a conjunction connecting race and gender. Critiques of neoliberal capitalism are not the only valuable class analysis. To broaden learners’ class awareness beyond economic inequality to the other dimensions of class and classism requires educator creativity in seeking readings, videos and exercises that bring the topic alive for learners. Because class indicators besides money are unfamiliar to most learners, the educator’s prepared personal stories can inject the needed human element into discussions of class, classism and economic inequality. We see three main purposes served by educators sharing class life experiences with learners: deepening bonds across roles; illustrating main points; and modeling disclosure to invite student sharing. The first is recommended in most learning situations; the second as needed; and the third only under certain limited circumstances. Each is described below with examples of personal stories one of the authors has shared in an educational setting. First, educators can break down barriers between themselves and learners by humanizing themselves and by revealing their social standpoint to be similar to or different from each learner’s life experience. Students are already making assumptions about who their educators are, sometimes true, sometimes false, and relating to them as similar or different from themselves. Many of us were taught by distant teachers, presumed to be professional-middle-class, and as a result we have an unconscious expectation that classroom relations will be cool and impersonal. A warmer classroom atmosphere that invites open discussion can result from educators’ class story-sharing. Since personal storytelling is a more prominent mode of expression in many working-class cultures, this warming effect can be especially meaningful to first-generation college students and others from working-class and poverty backgrounds (Leondar-Wright 2014), Frankly sharing one’s class indicators, as well as putting other identities into words, engenders deeper dialogue and often increases mutual respect between educators and learners. Depending on what the educator’s class background is, for each student this disclosure invites either a feeling of solidarity about similarities or a bridge across differences that have lost their taboo by being spoken. How and why co-author Adj Marshall talks about welfare office lines When I worked as a college success counselor, many of my students were documented and undocumented immigrants, refugees, and recipients of social support programs. They hailed from the Dominican Republic, Cambodia, Puerto Rico, Haiti, Cote D’Ivoire, Guatemala, Cape Verde and others. Since I am a white woman with the professional status of educator, my students often assumed that we were from completely different worlds, and in some very important ways we were. My family has been in the US for a few generations now, and I do not face the racism that many of them deal with on a daily basis. Where my childhood experience mirrored my students was in the grueling struggle that is life in poverty and the experience of pursuing college as a first generation college student. Angelika, a young Latina student of mine pursuing her studies in community college while pregnant, was sheepishly providing what she felt would be viewed by me as an unacceptable excuse for why her coursework had been suffering that term. She noted that lines at the welfare office and other social service offices were interfering with her ability to complete her homework. In that moment a compassionate smile appeared on my face, one she would later tell me was a surprising response. I shared with her my experience of standing in the welfare line each month with my own teen mother waiting some days for hours on end. I described my intuitive childhood knowledge that we were somehow involved in an unfair trade. That of food stamp booklets for bank account statements, dating history and more intimate life details than we would have liked to share. While Angelika and I had established a good working relationship, it was completely altered that day. Our shared social class background became a cementing force in our relationship over the next two years. My sharing earned me Angelika’s respect and buoyed us through our frustrations with one another, reminding us of the humanity in each other. Angelika’s knowledge of my upbringing allowed her to see me as an elder, someone she could share her struggles with and seek advice from. My deeper understanding for her experience allowed me to see her more fully as a whole person. Second, educator class stories can be used to illustrate the content being taught. Few examples are as compelling as a crafted narrative told in the first person, especially by someone usually in an authority role. Crafting a story to make a point takes time and effort.. Through years of trial and error and seeking out feedback, the two of us have each unearthed and polished many snippets of our past experience that have served as powerful catalysts in specific educational situations, as the two examples below show. How and why coauthor Betsy Leondar-Wright shares her childhood crush story In courses about inequality in the US education system, the idea that high-cultural-capital class cultures are not actually superior can be a tough sell to undergraduates imbued with the educational meritocracy myth (McNamee and Miller 2004). Even after I have them read excerpts from counter-hegemonic class-culture texts that are affirming of the strengths of working-class cultures, such as Lareau’s Unequal Childhoods (2003), Heath’s Ways with Words (1983) and Delpit’s The Skin That We Speak (2003) , many students persist in assuming middle-class superiority, for example referring to “bad English,” “bad parents” and “bad neighborhoods.” Here’s a story I have told several times to contradict that classist assumption that working-class cultures are only made up of downsides. “If I had to sum up my upbringing in one word, it would be “sheltered.” I was a nice middle-class Protestant white girl with no exposure to hardship and easily hurt feelings. “In 6th grade I had an intense crush on a Catholic boy named Marc who lived with his mother in an apartment over a store. Marc had a toughness and verbal agility that filled me with longing. When I was picked on, I just stood there silent. I could write with perfect grammar, but I couldn’t come up with a witty comeback to save my life. Marc met every put-down with a worse put-down, and went up into a bully’s face. “By the rules of our town I was the fortunate kid, and he was the disadvantaged kid. And in material ways there was truth to that. I went to college, Marc didn’t. The odds are good that my net worth is now higher than his, and that I get more respect for my work than he does. “But in human terms, Marc and I both had something to give each other. He could have used some of my knowledge about how to get into college. But I needed his thick skin, his assertiveness, and his ability to trash-talk – and I still need it today. “The truth is that my over-privileged class and ethnic upbringing gave me severe limitations that no-one named.” Students tend to enjoy this story because it’s about a youthful crush, and afterwards some of them seem to remember the concepts of asset-based and deficit-based depictions of working-class cultures. Why and how Adj shares her checkout line memories When teaching about the effects of poverty I struggle to find texts for my students that speak beyond the structural elements of oppression: lack of opportunity for educational attainment, vocational possibility, income earning potential, or access to health care. Rarely are there materials from which my students can learn about or understand the deeply personal and psychological effects of poverty, particularly told from a first person perspective. To bring this element alive for my students I share a story from my adult life exploring how my upbringing in poverty has inscribed itself on my worldview and still permeates my unconscious. “ My partner and I were on our weekly pilgrimage to the supermarket, something I could have only dreamed of as a child where shopping occurred once monthly in parallel with the arrival of food stamps and a well timed bus.” “We navigate to the checkout counter where we begin to place the fruits, vegetables, and dairy products, on the belt. My partner places the Tom’s Toothpaste on the belt amongst the other food items. I immediately move the toothpaste to the back of the belt. This happens repeatedly with the deodorant, laundry detergent and toilet paper while emptying our shopping cart..” “While we wait for the cashier to finish ringing us up, my partner asks “Why did you keep moving the household items to the back?” He sounds a bit annoyed as if my moving them is a form of judgment on his choice of placement.” “I respond quickly with “I don’t know exactly. I like similar things to be grouped together” – but before the sentence fully escapes my mouth it occurs to me that I was sorting our groceries in accordance with government benefits requirements.” “By the age of seven or eight I knew how to identify items that could and could not be bought with food stamps. It was essential to separate items or run the risk of being chastised by the cashier who might announce loudly that ‘you can’t purchase toothpaste with food stamps’.” “While I know that being poor did not make me less of a person as a child or today, somewhere deep down I still hold the fear of embarrassment that come with being called out as poor.” When telling this story I hand out copies of food stamps from the era of my childhood. I talk about how visible people on food stamps were with their colorful booklets and the regulations that required one to rip coupons from the book in front of the cashier. For many of my students, who have only known EBT (Electronic Benefit Transfer) cards, this is illuminating, and can lead to discussions about other ways the poor are put on display as the result of policies. Third, educator stories can encourage learner self-disclosures of class background experiences, which is eye-opening for story-teller and listener alike. Student sharing of personal class stories is a potent but high-risk activity for certain settings only. If the teacher or facilitator goes first, he or she can model deeper ways of sharing that learners may then replicate, for example by revealing emotions, avoiding stereotypes, adding race or gender intersections, and drawing lessons and conclusions from stories. By introducing nuance, these moments of personal sharing serve as a guide for students on how to share reflections on class that are grounded in lived personal experience. In higher education settings, the default assumption is that everyone is or soon will be a college-educated professional. The discovery that some students and/or the professor come from a working-class or poverty background shakes up those assumptions, disrupts the middle-class norm and the othering of class-disadvantaged people. The sharing of personal stories by educators can reassure students that their experiences are valid forms of expressions within the classroom. On the other hand, it can also raise discomfort in others whose class story is different, leading to the difficulties discussed in the next section. Why and how co-author Betsy Leondar-Wright describes her teenage affluence Sometimes the most valuable thing I do at classism workshops or during classroom social class units is to describe my teen years factually and in a relaxed tone. When I say calmly, “When I was 15, my dad hit the jackpot in the bond market, so my parents moved to a 15-room house, took us to Europe, and sent me to prep school and an Ivy League college,” it gives the message that ‘we can be real about class differences here’. I make it very clear that that my family’s upward mobility didn’t make us better people than others – and it didn’t make us worse people either. It’s just where my story happens to fit into a terribly unjust system that I’m not to blame for, but that I can work to change, as everyone can. Sharing that part of my story creates a space that’s welcoming for other very privileged people in particular. I watch their shoulders lower and their faces brighten up, and they become more open to honest disclosure and cross-class dialogue. The perils and pitfalls of sharing educators’ class stories In a culture where speaking about social class is taboo, teaching students to look at the world through an anti-classist approach can be a difficult and emotionally fraught process, one full of pain, fear, and embarrassment. Despite what’s difficult about social class story sharing, we believe that the extra effort needed to bring educators’ personal experiences with the class system into the classroom is worth the benefits. Through our many years of sharing personal class stories, we have discovered some potential pitfalls. Here we identify the pitfalls and provide advice on avoiding and counteracting these potential hazards. These include being clear about your purpose; taking steps to mine and assemble a story; anticipating difficult learner reactions; scaffolding and timing stories well; and, lastly, taking care in preparing to invite self disclosure. Knowing your purpose, being explicit, and strengthening the container Being explicit about the goals is one of the simplest ways of avoiding pitfalls in the practice of story sharing. When choosing to employ class story sharing it is essential that educators be explicit about the end goal for the story sharing with themselves and their students. We have both had classes and workshops veer far from the intended path because we were not clear about the reasons for sharing our personal stories. When the two of us share a personal class story to make a point about a reading, we often preface it with our intention: “The author speaks about X in her text; one example from my personal life that illustrates X is… .” If your purpose is to invite students to engage in self disclosure, it is important you are clear this is what you are asking of students. We authors have both started classes by stating “In sharing my story here, I have modeled how I hope you will share your own stories, if you choose to.” Because class stories are quite personal and students may be wary of sharing them, it is important to set up a strong container of safety and confidentiality (Lakey 2010). For example, state explicitly that students are not required to share, and that students may specify whether what is said may be repeated outside the classroom. Preparing your stories While educators can never be fully prepared for the myriad potential student responses, there are things you can do to prepare yourself. Failure to prepare sufficiently for telling a personal story can result in fizzling, backfiring, or veering off track from the intended course. We have found that sharing and responding to students in a powerful yet inclusive manner requires a well crafted story that has been vetted by others. One’s own emotions about childhood memories can be triggered by sharing them raw and unprocessed. It’s important to do your own work first before bringing class stories into the classroom. Start by writing down your own class memories. Participation in a cross-class dialogue group (Koch-Gonzalez et al. 2009) is an ideal way to work through your own memories and emotions and find the nuggets of your history that could serve educational purposes. Then we suggest sharing your story with fellow educators, ideally two or more from distinctly different class backgrounds, to solicit feedback before bringing it to the classroom. Seek out feedback and comments from colleagues about how students from different class backgrounds at your institution might respond. When you build up your network of collaborators, they may be willing share their own class stories in your classroom, providing students with a broader view of the class system than can be provided through your story alone. Anticipating difficult reactions When sharing our stories, we have encountered widely different reactions from our students and participants, including some difficult or negative reactions. Students may shut down, get confused, be triggered or become too defensive for dialogue or learning. We have observed that educators may be viewed as antagonists by students from differing class backgrounds than that revealed by the educator. Educators of all backgrounds may lose some credibility after sharing their stories; and those from working-class or poverty backgrounds may encounter a classist lowering of status in the eyes of some students. While educators’ stories about a childhood of poverty are often deeply meaningful to students from similar backgrounds, and eye-opening to students from more privileged backgrounds, such stories have also been met with incredulous responses by students. For example, co-author Marshall has heard, “See, the system works, you were upwardly mobile” from low income students. First-generation college students in particular can see themselves as at the beginning stages of upward mobility, and as a result may be especially attached to the American Dream ideology of rising through education. Deconstructing this ideal can be a hard sell, threatening to students’ personal hopes. Marshall also notes, “As someone who has ‘made it out’ I have to be wary of becoming the unscathed poster child for escaping poverty. When starry-eyed middle- and upper-class students ask ‘how did you do it?’ I speak frankly about the painful reality of transcending my class background and what I lost in the assimilation process of becoming upwardly mobile. I point out to students that everything is not perfect now that I am part of the professional middle class in some senses it is so much more complicated to straddle two class realities.” (Lubrano, 2004) Co-author Leondar-Wright finds that the middle-class part of her life story, through age 15, is often met with boredom. She notes, “Few people are interested in hearing how I grew up in a nice little 6 room house and attended a decent suburban public school.” In response she has learned to politicize her middle-class story by speaking about the unfair advantages of her middle class upbringing, in comparison to her working class peers. For other middle class educators as well, there may be no dramatic secrets to reveal, and the educator’s basic story can come across as uninteresting. Stories of wealth and luxury tend to hold learners’ attention and can counteract the presumption that there is no space for socioeconomically privileged student voices in discussions of class. By introducing three-dimensional stories with human flaws, such as Leondar-Wright’s stories boxed above, the myth that the upper-middle-class culture is the ideal for all to aspire to can be shattered. And on the other hand, the archetype of the greedy, evil rich can also shaken up by an actual privileged person’s story. Disclosing a privileged background, however, can sometimes alienate working-class and poverty-background students, and may discredit the educator with students as not having a valid standing to teach about class oppression. After describing her affluent late teenage years in a calm, factual tone (as in the boxed examples above), Leondar-Wright has occasionally heard students infer meanings that are clearly projections of their own emotions: “Why do you feel so guilty?”; “I don’t think you should put down rich people!”; and even “Nice for you, but not everyone got to travel, you know!” Owning-class and top 1% educators may get even stronger reactions. Whereas an educator from a working-class or poverty-class background challenges classist stereotypes simply by their presence in the classroom, a privileged-class educator’s presence may reinforce stereotypes about who can become a professional – an assumption that needs to be problematized. Productive discussions can grow out of initial negative student responses. The further towards the either end of the class spectrum an educator’s background falls, the more time will be needed for discussion and debriefing. We acknowledge the limited effectiveness of any single educator’s class background story and suggest a teaching methodology that allow for a more diverse educator team. Personal class stories work best for student learning when there are two educators with backgrounds at different ends of the class spectrum, with contrasting amounts of privilege or hardship in childhood and adolescence. A racially mixed team is ideal as well. Hearing a story more similar to their own greatly increases learners’ sense of safety to take risks and the likelihood of ‘aha’ moments. Those from backgrounds of poverty or wealth especially, but others as well, tend to share more deeply after listening to an educator from their own part of the class spectrum. When co-educators model an attitude of warm, respectful listening towards each other it can open a crack in unproductive responses based on stereotypes and unprocessed emotions, such as pity, guilt, envy and resentment. To see a co-educator from a very different background give rapt attention to the other’s story helps establish learning from diverse class stories as a legitimate use of group time and focus. In typical classroom settings with one professor, this ideal of co-educators may seem difficult to achieve. A colleague from a different class background can be invited in to co-teach a session or module. To know whom to invite means opening up sometimes fraught conversations with colleagues about class life stories, which can deepen relationships and create a more class-aware working environment. Scaffolding and timing stories If educators’ personal stories lie far outside the lived experience of their students, it is important to consider when to share. If such a story is introduced too early it can cause the students to clam up or not speak openly about their views for fear of offending. It is essential that students are practiced with the tools of responding in a productive manner before introducing them to stories from the extremes of the class spectrum. The same is true of introducing personal stories that convey complex social class concepts. Because students have a particularly limited experience engaging with their class identity and the class identity of others, educators should consider how they scaffold stories and activities, ensuring to the best of their abilities that students have the background knowledge and social emotional readiness to engage with the content presented. Why and when co-author Adj Marshall reveals her family’s homelessness experiences When teaching courses on homelessness I often choose not to reveal the fact that I was part of a homeless family until well into the semester, or even well into the chosen text. With Donna Haig-Friedman’s Parenting in Public: Family Shelter and Public Assistance (2000), I often assign it mid-course to late in the course. I explicitly choose to do this because I want students to speak openly in an unfiltered way, constructing and sharing their views, and not hiding their biases towards parents living in shelters. It can be a learning moment for students when I share my story of homelessness, bringing the ‘other’ that we have spent the semester talking ‘about’ into the classroom as an individual that students are speaking to. The practice of holding back information can be received with strong reactions by students. Some students are upset, others feel embarrassed or self conscious about things they said or how I might interpret their views. Sometimes students respond with shock having believed this is an issue that affects only ‘other people’. Still others express appreciation for the added element of personal insight brought to the class. By choosing to share this story later in the course, I am able to diversify the variety of student responses and allow students the context and time needed to processes and respond to such information while recognizing that it can sometimes be difficult for students to hear. As classism educators, we find that simple digestible stories to which most students can relate can be a good place to begin. As we move throughout the semester, we share more complex and nuanced content, as in the example below. How and when co-author Betsy Leondar-Wright shares her politeness socialization Class culture differences are hard to teach in the abstract without stereotyping. In Streib’s book about mixed-class marriages, The Power of the Past (2015), she found that the middle-class spouses tended to plan and manage family life, while the working-class spouses tended to value spontaneity. To introduce this class cultural pattern, near the beginning of the module, I say something about myself that will get less resistance than a generalization, such as: “Growing up middle class, I was taught to quash my emotions and be polite at all times, so it’s still hard for me today to be spontaneously expressive.” But because class cultures are such an unfamiliar concept, I always wait to offer that self-disclosure until students have already engaged in some basic reading on the topic. Successful scaffolding involves gradually increasing the risk level of the classroom activities. Inviting self-disclosure of class background from students falls high on the risk spectrum by opening a well of class-based emotional trauma that educators may not be prepared to respond to. In the worst case scenario, judgmental or mocking student responses to someone’s story may devastate the student. Sometimes not encouraging self-disclosure is the best option. For some groups, preparing a class to discuss class identities may take almost an entire semester, while others may spontaneously dive in early. Ensuring your students are prepared and feel safe disclosing is the most essential part of the process. We have found that questions about other families, not students’ own childhood settings, are low-risk enough to ask at the beginning of a course module or workshop. One starter question we have found works well is “What’s your first memory of a family that had more or less class privilege than your family?” While most students may have only a latent class identity, they can often pinpoint moments when they have noticed having more or less class advantage than others. Thus asking students this simple question can be a relatively nonthreatening introduction to sharing surface-level experiences of class with peers. We advise not to expect or actively invite personal self-disclosure in any situation where participants could face consequences for not participating. Having adequate time to debrief what students share is essential, so we also do not advise self disclosure in brief sessions when there’s little time to discuss emotional reactions. The best possible situation is one in which power dynamics have been mitigated as much as possible and confidentiality ground rules have been set for both inside and outside the classroom. Ideally students will have been prepared with adequate materials and activities necessary to allow for constructive ways of disclosing and responding. In these situations inviting class background self disclosure can broaden student perspectives on social class, allow for personal introspection about class advantage and disadvantage in relation intersecting identities, and turn economic inequality from a dry topic into a subject for heartfelt engagement. In this article we have advocated a high-risk addition to the pedagogy of social class, but one with high potential for student transformation. Even the students who seem to have the least class consciousness do in fact have class-related memories, and they are in fact aware of class stratification. The challenge, which Paulo Freire (1970) took on with Brazilian peasants, is to uncover and politicize that awareness and channel it towards liberatory action. The popular education tradition has provided us with a model in which students and educators share life experiences and unpack them for the purpose of understanding the stratified social world and ideally working to change it. By deeply exploring your own class life stories, crafting them into purposeful vignettes, being vulnerable with your students and inviting them to do the same, you can open a door to powerful cross-class dialogue. Published in Kristin Haltinner and Leontina Hormel, Eds. (2018) Teaching Economic Inequality and Capitalism in Contemporary America, Springer Nature

<urn:uuid:6521ffe1-8dfa-47c8-97bf-5050687ea93c>

CC-MAIN-2023-40

https://classism.org/untold-stories-bringing-class-into-the-classroom/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233511023.76/warc/CC-MAIN-20231002232712-20231003022712-00368.warc.gz

en

AN ASSESSMENT OF SPELLING ERRORS IN WRITTEN ENGLISH LANGUAGE OF JUNIOR SECONDARY SCHOOLS No of pages |MS Word & PDF| The custom academic work that we provide is a powerful tool that will facilitate and boost your coursework, grades and examination results. Professionalism is at the core of our dealings with clients For more project materials and info! Call us here Background to the Study Language is a system of conventional spoken, manual or written symbols by means of which human beings, as member of a social group and participants in it’s culture, express themselves. The functions of language include communication, the expression of identity, play, imaginative expression and emotional release. Henry sweet (2010) stated “language is the expression of ideas by means of speech-sounds combined into words. Words are combined into taughts”. Bernard Bloch and George L. Trager (2010) formulated the following definition: “A language is e system of arbitrary vocal symbols by means of which a social group cooperates”. Any succinct definition of language makes a number of presuppositions and begs a number of questions. The first, for example, puts excessive weight on “taught”, and the second uses “arbitrary” in a specialized, though legimate, way. Nigeria being a multilingual country with over four hundred (400) languages already, received an additional language which is English language in the sixteenth century from the Great Britain, by the colonial masters whom were in Nigeria to propagate Christianity, trade and take over the entire Nigerian administration. This marks the introduction of the English language in the Nigerian history and thus added to the multilingual existence of the Nigerians. Medubi (2013) posits that English language came into Nigeria with the British settlers (in the sixteenth century) whose expansionist programmes saw them colonise a good number of countries all over the world. The interaction of the British settlers and the Nigerian natives resulted in birth of pidgin, a broken form of English that ease communication difficulties between the two peoples. However, with the complete appropriation of the Nigerian land as a colonial territory, Britain introduced the English language as the lani of administration. During these times also, the missionaries who needed to communicate with converts introduced the learning of English language for Bible reading, thus, forming the rudiments of the educational system (Medubi, 2013). This laid the foundation of literacy skills of reading and writing in the English language curriculum in Nigeria. English language occupies a prominent place in the Nigerian school curriculum to the extent that it is stated in Federal Ministry of Education secondary Education Curriculum (2007) that no student can proceed to the tertiary level without a credit pass in English Language. As one of the legacies bequeathed to Nigerians by the British, it will be very difficult to do away with it because it is the major medium of instruction in our schools, business transaction, and communication both nationally and internationally. The term ‘curriculum’ has different interpretations among scholars. Olorundare (2003) viewed curriculum as the sum total of all experiences a pupil undergoes in school. Offorma(2006) defined curriculum as a structured series of learning experiences intended for the education of the learner. Ivowi(2008) viewed curriculum as a tool designed for educating a person in order to change the orientation behavior, actions and values to that of a good person whose concern is not only to develop self but also the world around. To Epo and Osam (2009), curriculum is a graded course of different subject taken from the nursery school to the university. Thus all what students do or learn at school from the day they are admitted into school to the day they leave school may be referred to as curriculum. It is a continuous process of a conscious insight into the life of the society by the school with a view to bring about improvement. In the light of the above definitions, certain steps are vital in the formation of effective and attainable mains, goals and objectives of a curriculum which the English language curriculum adopted. The English language curriculum for the secondary school was designed generally towards the achievement level of a high level of proficiency in the Nigerian students’ use of English language. The English language curriculum in both basic and post basic levels of education encompasses several areas such as: reading/comprehension, speech, vocabulary development, handwriting, phonics instruction, composition/creative writing, summary writing, lexis/structure, oral English/pronunciation among others. All these areas have their aims and objectives. On the goals and objectives of English language curriculum, Amuseghan (2007) stated that one would expect English as a second language (ESL) learner in the Nigerian context, after nine or twelve solid years of learning English and using it for instruction at the primary and secondary levels to become academically, linguistically and communicatively competent in social contexts beyond the school, which is the ultimate goal of the prescribed English language curriculum as the secondary level. There has been an increase in spelling research in the past years due to importance spelling has on literacy acquisition (e.g. Conrad, 2008; Kwong & Varnhagen, 2005; Treiman & Bourassa, 2000). Spelling is important for literacy because of its close relationships with reading and writing. Spelling supports reading because two processes are reciprocally related and they both follow a similar course of acquisition (Ehri, 2000).Spelling supports writing. This is because “spelling and text production in later grades will require that students can automatically and legibly write alphabet letters and match sounds in words to associated spelling patterns”(Ritchey, 2008, p.44). Spelling also plays an important role in our daily lives. It is necessary in various occasions which range from undemanding tasks such as: filing alphabetically; looking up words in a phone book, dictionary, writing notes that others can read; and even playing parlor games(2005). Spelling is a complex cognitive activity in which several mental processes are involved. Spelling also plays an important role in every learners live. This is because Part of what determines a learner’s proficiency in English language is his/her ability to spell correctly for accurate expression. No matter how fluent a speaker may be, without a good mastering of spelling, it will be considered a great error. According to Wiktionary, error is the state, quality, or condition of being wrong. In applied linguistics, an error is a deviation from accepted rules of a language made by a learner of a second language. Richards and Schmidt (2002:pg.184) define error analysis as” the study and analysis of the errors made by second language learners. ” Another view of error analysis is given by Brown (1989, cited by Hashim, 2002:43), when he defines error analysis as the process of observing, analyzing, and classifying the deviations of the rules of the second language and then to reveal the systems operated by a learner. Brown (2000):217) also insists that “mistakes must be carefully distinguished from errors of a second language learner”. He defines an error as “a noticeable deviation from the adult grammar of a native speaker” which also reflects the competence of the learner. He continues to explain that” a mistake refers to a performance error that is either a random guess or a ‘slip’, in that it is a failure to utilize a known system correctly” and ” mistakes, when attention is called to them, can be self-corrected. Brown (2002:220) differentiate between covert and overt errors. They define covert errors to be grammatically correct but not interpretable within the context of communication, whereas overt errors refer to the obviously ungrammatical utterances. Brown (2000: 217) also insists that “mistakes must be carefully distinguished from errors of a second language learner”. He defines an error as “a noticeable deviation from the adult grammar of a native speaker” which also reflects the competence of the learner. He continues to explain that “a mistake refers to a performance error that is either a random guess or a ‘slip’, in that it is a failure to utilize a known system correctly” and “mistakes, when attention is called to them, can be self-corrected”. Errors, on the other hand, often indicate the learner’s competence in the target language and they are ‘evidence’ which can reflect the learner’s language proficiency. “The fact that learners do make errors, and that these errors can be observed, analyzed, and classified to reveal something of the system operating within the learner, led to a surge of study of learner’s error, called error analysis” (ibid.: 218). This is the next topic of discussion in the following sections. 2.3.4 Goals and definitions of Error Analysis Error Analysis is a theory replacing the Contrastive Analysis, which was abandoned by linguists and teachers due to its in effectivity and unreliability. EA also belongs to applied linguistics but it has no interest in explaining the process of L2 acquisition. It is rather “a 17 methodology for dealing with data.” Error Analysis Error analysis is an activity to reveal errors found in writing and speaking (Hasyim, 2002, p.43). Similarly, Barzegar (2013) stated “error analysis is a procedure used both researcher and teachers which involves collecting samples of learner language, identifying the error in the sample, describing these errors, classifying them according to their nature and causes, and evaluating their seriousness” (p. 322). The other definition states that error analysis is a type of linguistic analysis that focuses on the errors learners make (AbiSamr 12 The other opinion comes from Hasyim (2002) who stated that Error analysis is advantageous for both learners and teachers. Besides, benefit for students, error analysis is needed to show them in what aspect in grammar which is difficult for them, while for teachers, it is required to evaluate themselves whether they are successful or not in teaching. Thus, error analysis should not be neglected in foreign language teaching. (p.42-43). Thus, the definition explains that error analysis is a technique to investigate an error word and sentence in writing or speaking form. Spelling Error Botley, Hakim and Dillah (2007) stated, “spelling error are highly ubiquitous and contentious features of second language learners’ written performance” (p.75). The other definition of spelling error is given by Al-jarf (2010); he said “Any faulty words, faulty graphemes (single vowel, single consonant, vowel digraphs, consonant digraphs, phonogram, suffix or prefix) within a word are counted as an error. Any graphemes that are added, deleted, substituted by another or reversed are counted as misspellings”. (p.9). Spelling error usually occurs because the students cannot distinguish between letters and sound of the word when they write. According to Perveen & Akram (2014), “Sounds, letters, word parts, word meaning, and word history are those elements which play the important role in learning to spell the words of English 13 language” (p.2605). Similarly, “A single sound (or more correctly, a single phoneme) may have many different spelling (paw, poor, pore, pour, daughter, Sean), and the same spelling may have many different sound (or, word, information, worry, correspond)” (Harmer, 2001, p.256). Spelling error still appears in large number in writing producing by learner; even drilling and training technique did in every school or university (Botley et al, 2007). According to Benyo (2014), spelling errors are due to these sound problems. The other statement, “One of the reasons that spelling is difficult for students of English is that the correspondence between the sound of a word and the way it is spelt is not always obvious (Harmer, 2001, p.271). The other statement given by Al-zuoud & Kabilan, (2013) stated, many students produce misspelled word, which result in disconnected sentence. The importance of spelling is not limited to individuals whose first language is English, but to English language learners as well. The development of the English language learners’ spelling differs from those whose first language is English. It has been well-established in literature today that unlike English monolinguals, language learners use knowledge of their first language when they learn to spell in English. Since language learners use their knowledge of their first language in learning to spell in English, the proficiency level of the first language is closely related the acquisition of second language spelling. According to Brisk and Harrington (2000), “literacy skills are acquired only once through one language and then applied to new languages” (p. 4). The problem of poor spelling seems to be ubiquitous. It is apparent at all grade levels and in practically every school. When poor spelling is uncorrected for many students, they carry it with them into the work world or college classroom, where employers and professors must face it. “Some people just aren’t good spellers,” one teacher excuses the problem, “just as some people aren’t good at math or history. The ability to spell well is a gift.” “Her brothers weren’t good spellers, either,” another teacher might say, concluding that poor spelling must have a genetic cause. To address the problem, however, we must recognize its magnitude, acknowledge people equate a Southern or Midwestern farm accent with ignorance. Although neither assumption is necessarily valid, the stigma affects one’s image or reputation and often determines what one can achieve in life. Do we continue to go through life denigrating and berating—or excusing—the poor spellers and blaming others for their predicament? Do we continue to pass them along to the next higher grade, hoping that somewhere between our class and graduation someone will manage miraculously to “get through to” them and teach them how to spell? No, it is not a hopeless case, and no, we don’t have to resign ourselves to having poor spellers as a matter of course. Not if we understand the factors that contribute to poor spelling and take the steps necessary to solve the problem. The Contributing Factors Postulated No single cause can be cited for every poor speller’s predicament. Rather, a plethora of factors contribute to the problem. For some people, one factor is predominant; for other people, several factors are involved in creating their problem. An understanding of each factor will help teachers identify poor spellers, diagnose their predominating factors, and apply a proper solution. Intelligence and Organizational Skills Marilyn vos Savant (2000) writes, “When your spelling is perfect, it is invisible— the reader has no reason to notice it unless it’s wrong. But when it goes wrong, it spurs strong associations in the mind of the reader, even when he or she isn’t aware of them. Although many people, knowingly or subconsciously, equate spelling ability with intelligence, that association does not seem to be validated by facts. “Spelling ability has nothing to do with intelligence,” Sorsby (1996) declared. “It has a lot to do with developing a familiarity with words, an ability to recognize them and, equally important, a similar ability to recognize when they don’t ‘look right.’ ” Although good spelling is a mark of a well-educated person, and the opposite can cost one a job, a raise, or a promotion, it is not necessarily a sign of low intelligence not to spell well. Rather, vos Savant (2000) indicates that spelling ability is more closely related to “our organizational habits and other personality traits than our intelligence. ” Proving her claim, she found in a survey of 42,603 readers that “If you’re a top speller, you’re more likely to be more intelligent than average, better able to follow instructions than average, and more organized than average. On the other hand, if you’re a bottom speller, your general intelligence and ability to follow directions are not likely to be lower than average, but you are more likely to be less organized. Marsand and Griffith (1974) warn, “Memorizing the rules will not be of much help unless you apply them.” 7. Encourage the use of easily remembered helps such as, “Write i before e, except after c, or when sounded like a, as in ‘neighbor’ and ‘weigh.’ ” 8. Emphasize handwriting legibility in students’ writing activities. 9. Encourage reading. 10. Have the students keep a notebook of their misspelled words or words that have given them trouble. Review them periodically, and practice spelling them regularly. 11. Help students develop the habit of looking up words whenever they are uncertain of their correct spellings. 12. Teach, enforce, and encourage rigorous proofreading. 13. Provide opportunities for students to check their own (or others’) work. AVKO (2000) states, “Of all the spelling techniques currently employed, immediate student self-correction is generally the most effective.” 14. Make the spelling words relevant. Learn spelling within a context.” (Hamilton Public Library, 2004). Introduce words that they are actually using in their current reading or study or that are in the news. Use words that include subjects that are of interest to them. 15. Study the etymology of words and roots, prefixes, and suffixes; and encourage students to learn the meanings of words. 16. Help students to form a mental picture of individual syllables and then to fit those pieces together into whole words. 17. Provide both intrinsic and extrinsic motivational rewards for successful spelling. Do not punish poor spelling; encourage correct spelling. 18. Play crossword and Scrabble-type games to increase spelling ability and increase vocabulary. 19. Emphasize spelling across the curriculum and at all grade levels. As a child learns meanings, stretching his vocabulary, he understands more of what he reads. When he writes, he now has more words to choose from to find that perfect word. And because he has learned to spell by seeing and using patterns, he can come up with a word that he hasn’t been taught, just because it makes sense. If spelling is only something the child sees as a random list of words to spell correctly on Friday’s test, he will miss all of these benefits. ” Conclusion In many of our schools today, formal spelling instruction ceases in the upper elementary grades. In many other schools, spelling instruction is isolated as “the English teacher’s job,” and teachers of other subjects complain bitterly about students’ inability to spell correctly—but, feeling helpless, they do nothing about it. Perhaps it is time to address the problem at all levels and across the entire curriculum. The solution lies not in merely following the right rules in laying the right foundation in the early elementary grades; it lies in reinforcing those lessons throughout the child’s educational career. It requires a team effort by everyone. Statement of the Problem Many researchers have written on the spelling error in the written English of Junior secondary schools. In order to master literacy, one must not only be able to read and write, but to spell as well (MCardle, Chhabra, & Kapinus, 2008). There has been an increase in spelling research in the past years due to the importance spelling has on literacy acquisition e.g (Conrad,2008, Kwong &Varnhagen,2005, Treiman & Brourassa, 2000). Spelling is important for literacy because the two processes are reciprocally related and the both follow a similar course of acquisition (Ehri, 2000). Spelling supports writing, this is because “text production in later grades will require that students can automatically and legibly write alphabet letters and match sound in words to associated spelling patterns”(Ritchey, 2008:44). The researcher, having discovered the spelling errors in the written English in the works of many researchers, hereby focuses this research work on the spelling errors in the written English of junior secondary schools in Abeokuta South Local Government Area of Ogun State, Nigeria. Purpose of the Study The purpose of this study focused on the analysis of spelling errors in written English of junior secondary schools students in Abeokuta South Local Government Area of Ogun State, Nigeria. The study found out: 1. The common spelling errors in written English of junior secondary school students in Abeokuta South Local Government Area of Ogun State, Nigeria. 2. To investigate the spelling errors in written English of Junior secondary school students in Abeokuta South Local Government Area of Nigeria based on gender. 3. To investigate the spelling errors in written English of junior secondary school students in Abeokuta South Local Government Area of Ogun State Nigeria based on school type. 4. To investigate the spelling errors in the written English of junior secondary school students in Abeokuta South Local Government Area of Ogun State Nigeria based on school location. The following research questions were raised in order to guide the study. 1. What are the common spelling errors in the written English of Junior secondary school students in Abeokuta South Local Government Area Ogun State, Nigeria? 2. Is there any difference in the spelling errors found in the written English of male and female junior secondary school students in Abeokuta South Local Government Area Ogun State? 3. Is there any difference in the spelling errors found in the written English of private and public junior secondary school students in Abeokuta South Local Government Area Ogun State?

<urn:uuid:ad3e3fd4-8e48-49eb-85be-963d828da4b2>

CC-MAIN-2023-40

https://www.researchkey.net/an-assessment-of-spelling-errors-in-written-english-language-of-junior-secondary-schools/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506480.35/warc/CC-MAIN-20230923062631-20230923092631-00368.warc.gz

en

- Identify the major technological changes in radio as a medium since its inception. - Explain the defining characteristics of radio’s Golden Age. - Describe the effects of networks and conglomerates on radio programming and culture. At its most basic level, radio is communication through the use of radio waves. This includes radio used for person-to-person communication as well as radio used for mass communication. Both of these functions are still practiced today. Although most people associate the term radio with radio stations that broadcast to the general public, radio wave technology is used in everything from television to cell phones, making it a primary conduit for person-to-person communication. The Invention of Radio Guglielmo Marconi is often credited as the inventor of radio. As a young man living in Italy, Marconi read a biography of Hienrich Hertz, who had written and experimented with early forms of wireless transmission. Marconi then duplicated Hertz’s experiments in his own home, successfully sending transmissions from one side of his attic to the other (PBS). He saw the potential for the technology and approached the Italian government for support. When the government showed no interest in his ideas, Marconi moved to England and took out a patent on his device. Rather than inventing radio from scratch, however, Marconi essentially combined the ideas and experiments of other people to make them into a useful communications tool (Coe, 1996). In fact, long-distance electronic communication has existed since the middle of the 19th century. The telegraph communicated messages through a series of long and short clicks. Cables across the Atlantic Ocean connected even the far-distant United States and England using this technology. By the 1870s, telegraph technology had been used to develop the telephone, which could transmit an individual’s voice over the same cables used by its predecessor. When Marconi popularized wireless technology, contemporaries initially viewed it as a way to allow the telegraph to function in places that could not be connected by cables. Early radios acted as devices for naval ships to communicate with other ships and with land stations; the focus was on person-to-person communication. However, the potential for broadcasting—sending messages to a large group of potential listeners—wasn’t realized until later in the development of the medium. The technology needed to build a radio transmitter and receiver was relatively simple, and the knowledge to build such devices soon reached the public. Amateur radio operators quickly crowded the airwaves, broadcasting messages to anyone within range and, by 1912, incurred government regulatory measures that required licenses and limited broadcast ranges for radio operation (White). This regulation also gave the president the power to shut down all stations, a power notably exercised in 1917 upon the United States’ entry into World War I to keep amateur radio operators from interfering with military use of radio waves for the duration of the war (White). Wireless technology made radio as it is known today possible, but its modern, practical function as a mass communication medium had been the domain of other technologies for some time. As early as the 1880s, people relied on telephones to transmit news, music, church sermons, and weather reports. In Budapest, Hungary, for example, a subscription service allowed individuals to listen to news reports and fictional stories on their telephones (White). Around this time, telephones also transmitted opera performances from Paris to London. In 1909, this innovation emerged in the United States as a pay-per-play phonograph service in Wilmington, Delaware (White). This service allowed subscribers to listen to specific music recordings on their telephones (White). In 1906, Massachusetts resident Reginald Fessenden initiated the first radio transmission of the human voice, but his efforts did not develop into a useful application (Grant, 1907). Ten years later, Lee de Forest used radio in a more modern sense when he set up an experimental radio station, 2XG, in New York City. De Forest gave nightly broadcasts of music and news until World War I halted all transmissions for private citizens (White). Radio’s Commercial Potential After the World War I radio ban lifted with the close of the conflict in 1919, a number of small stations began operating using technologies that had developed during the war. Many of these stations developed regular programming that included religious sermons, sports, and news (White). As early as 1922, Schenectady, New York’s WGY broadcast over 40 original dramas, showing radio’s potential as a medium for drama. The WGY players created their own scripts and performed them live on air. This same groundbreaking group also made the first known attempt at television drama in 1928 (McLeod, 1998). Businesses such as department stores, which often had their own stations, first put radio’s commercial applications to use. However, these stations did not advertise in a way that the modern radio listener would recognize. Early radio advertisements consisted only of a “genteel sales message broadcast during ‘business’ (daytime) hours, with no hard sell or mention of price (Sterling & Kittross, 2002).” In fact, radio advertising was originally considered an unprecedented invasion of privacy, because—unlike newspapers, which were bought at a newsstand—radios were present in the home and spoke with a voice in the presence of the whole family (Sterling & Kittross, 2002). However, the social impact of radio was such that within a few years advertising was readily accepted on radio programs. Advertising agencies even began producing their own radio programs named after their products. At first, ads ran only during the day, but as economic pressure mounted during the Great Depression in the 1930s, local stations began looking for new sources of revenue, and advertising became a normal part of the radio soundscape (Sterling & Kittross, 2002). The Rise of Radio Networks Not long after radio’s broadcast debut, large businesses saw its potential profitability and formed networks. In 1926, RCA started the National Broadcasting Network (NBC). Groups of stations that carried syndicated network programs along with a variety of local shows soon formed its Red and Blue networks. Two years after the creation of NBC, the United Independent Broadcasters became the Columbia Broadcasting System (CBS) and began competing with the existing Red and Blue networks (Sterling & Kittross, 2002). Although early network programming focused mainly on music, it soon developed to include other programs. Among these early innovations was the variety show. This format generally featured several different performers introduced by a host who segued between acts. Variety shows included styles as diverse as jazz and early country music. At night, dramas and comedies such as Amos ’n’ Andy, The Lone Ranger, and Fibber McGee and Molly filled the airwaves. News, educational programs, and other types of talk programs also rose to prominence during the 1930s (Sterling & Kittross, 2002). The Radio Act of 1927 In the mid-1920s, profit-seeking companies such as department stores and newspapers owned a majority of the nation’s broadcast radio stations, which promoted their owners’ businesses (ThinkQuest). Nonprofit groups such as churches and schools operated another third of the stations. As the number of radio stations outgrew the available frequencies, interference became problematic, and the government stepped into the fray. The Radio Act of 1927 established the Federal Radio Commission (FRC) to oversee regulation of the airwaves. A year after its creation, the FRC reallocated station bandwidths to correct interference problems. The organization reserved 40 high-powered channels, setting aside 37 of these for network affiliates. The remaining 600 lower-powered bandwidths went to stations that had to share the frequencies; this meant that as one station went off the air at a designated time, another one began broadcasting in its place. The Radio Act of 1927 allowed major networks such as CBS and NBC to gain a 70 percent share of U.S. broadcasting by the early 1930s, earning them $72 million in profits by 1934 (McChesney, 1992). At the same time, nonprofit broadcasting fell to only 2 percent of the market (McChesney, 1992). In protest of the favor that the 1927 Radio Act showed toward commercial broadcasting, struggling nonprofit radio broadcasters created the National Committee on Education by Radio to lobby for more outlets. Basing their argument on the notion that the airwaves—unlike newspapers—were a public resource, they asserted that groups working for the public good should take precedence over commercial interests. Nevertheless, the Communications Act of 1934 passed without addressing these issues, and radio continued as a mainly commercial enterprise (McChesney, 1992). The Golden Age of Radio The so-called Golden Age of Radio occurred between 1930 and the mid-1950s. Because many associate the 1930s with the struggles of the Great Depression, it may seem contradictory that such a fruitful cultural occurrence arose during this decade. However, radio lent itself to the era. After the initial purchase of a receiver, radio was free and so provided an inexpensive source of entertainment that replaced other, more costly pastimes, such as going to the movies. Radio also presented an easily accessible form of media that existed on its own schedule. Unlike reading newspapers or books, tuning in to a favorite program at a certain time became a part of listeners’ daily routine because it effectively forced them to plan their lives around the dial. Daytime Radio Finds Its Market During the Great Depression, radio became so successful that another network, the Mutual Broadcasting Network, began in 1934 to compete with NBC’s Red and Blue networks and the CBS network, creating a total of four national networks (Cashman, 1989). As the networks became more adept at generating profits, their broadcast selections began to take on a format that later evolved into modern television programming. Serial dramas and programs that focused on domestic work aired during the day when many women were at home. Advertisers targeted this demographic with commercials for domestic needs such as soap (Museum). Because they were often sponsored by soap companies, daytime serial dramas soon became known as soap operas. Some modern televised soap operas, such as Guiding Light, which ended in 2009, actually began in the 1930s as radio serials (Hilmes, 1999). The Origins of Prime Time During the evening, many families listened to the radio together, much as modern families may gather for television’s prime time. Popular evening comedy variety shows such as George Burns and Gracie Allen’s Burns and Allen, the Jack Benny Show, and the Bob Hope Show all began during the 1930s. These shows featured a central host—for whom the show was often named—and a series of sketch comedies, interviews, and musical performances, not unlike contemporary programs such as Saturday Night Live. Performed live before a studio audience, the programs thrived on a certain flair and spontaneity. Later in the evening, so-called prestige dramas such as Lux Radio Theater and Mercury Theatre on the Air aired. These shows featured major Hollywood actors recreating movies or acting out adaptations of literature (Hilmes). By the late 1930s, the popularity of radio news broadcasts had surpassed that of newspapers. Radio’s ability to emotionally draw its audiences in close to events made for news that evoked stronger responses and, thus, greater interest than print news could. For example, the infant son of famed aviator Charles Lindbergh was kidnapped and murdered in 1932. Radio networks set up mobile stations that covered events as they unfolded, broadcasting nonstop for several days and keeping listeners updated on every detail while tying them emotionally to the outcome (Brown, 1998). As recording technology advanced, reporters gained the ability to record events in the field and bring them back to the studio to broadcast over the airwaves. One early example of this was Herb Morrison’s recording of the Hindenburg disaster. In 1937, the Hindenburg blimp exploded into flames while attempting to land, killing 37 of its passengers. Morrison was already on the scene to record the descent, capturing the fateful crash. The entire event was later broadcast, including the sound of the exploding blimp, providing listeners with an unprecedented emotional connection to a national disaster. Morrison’s exclamation “Oh, the humanity!” became a common phrase of despair after the event (Brown, 1998). Radio news became even more important during World War II, when programs such as Norman Corwin’s This Is War! sought to bring more sober news stories to a radio dial dominated by entertainment. The program dealt with the realities of war in a somber manner; at the beginning of the program, the host declared, “No one is invited to sit down and take it easy. Later, later, there’s a war on (Horten, 2002).” In 1940, Edward R. Murrow, a journalist working in England at the time, broadcast firsthand accounts of the German bombing of London, giving Americans a sense of the trauma and terror that the English were experiencing at the outset of the war (Horten, 2002). Radio news outlets were the first to broadcast the attack on Pearl Harbor that propelled the United States into World War II in 1941. By 1945, radio news had become so efficient and pervasive that when Roosevelt died, only his wife, his children, and Vice President Harry S. Truman were aware of it before the news was broadcast over the public airwaves (Brown). The Birth of the Federal Communications Commission The Communications Act of 1934 created the Federal Communications Commission (FCC) and ushered in a new era of government regulation. The organization quickly began enacting influential radio decisions. Among these was the 1938 decision to limit stations to 50,000 watts of broadcasting power, a ceiling that remains in effect today (Cashman). As a result of FCC antimonopoly rulings, RCA was forced to sell its NBC Blue network; this spun-off division became the American Broadcasting Corporation (ABC) in 1943 (Brinson, 2004). Another significant regulation with long-lasting influence was the Fairness Doctrine. In 1949, the FCC established the Fairness Doctrine as a rule stating that if broadcasters editorialized in favor of a position on a particular issue, they had to give equal time to all other reasonable positions on that issue (Browne & Browne, 1986). This tenet came from the long-held notion that the airwaves were a public resource, and that they should thus serve the public in some way. Although the regulation remained in effect until 1987, the impact of its core concepts are still debated. This chapter will explore the Fairness Doctrine and its impact in greater detail in a later section. Radio on the Margins Despite the networks’ hold on programming, educational stations persisted at universities and in some municipalities. They broadcast programs such as School of the Air and College of the Air as well as roundtable and town hall forums. In 1940, the FCC reserved a set of frequencies in the lower range of the FM radio spectrum for public education purposes as part of its regulation of the new spectrum. The reservation of FM frequencies gave educational stations a boost, but FM proved initially unpopular due to a setback in 1945, when the FCC moved the FM bandwidth to a higher set of frequencies, ostensibly to avoid problems with interference (Longley, 1968). This change required the purchase of new equipment by both consumers and radio stations, thus greatly slowing the widespread adoption of FM radio. One enduring anomaly in the field of educational stations has been the Pacifica Radio network. Begun in 1949 to counteract the effects of commercial radio by bringing educational programs and dialogue to the airwaves, Pacifica has grown from a single station—Berkeley, California’s KPFA—to a network of five stations and more than 100 affiliates (Pacifica Network). From the outset, Pacifica aired newer classical, jazz, and folk music along with lectures, discussions, and interviews with public artists and intellectuals. Among Pacifica’s major innovations was its refusal to take money from commercial advertisers, relying instead on donations from listeners and grants from institutions such as the Ford Foundation and calling itself listener-supported (Mitchell, 2005). Another important innovation on the fringes of the radio dial during this time was the growth of border stations. Located just across the Mexican border, these stations did not have to follow FCC or U.S. regulatory laws. Because the stations broadcast at 250,000 watts and higher, their listening range covered much of North America. Their content also diverged—at the time markedly—from that of U.S. stations. For example, Dr. John Brinkley started station XERF in Del Rio, Mexico, after being forced to shut down his station in Nebraska, and he used the border station in part to promote a dubious goat gland operation that supposedly cured sexual impotence (Dash, 2008). Besides the goat gland promotion, the station and others like it often carried music, like country and western, that could not be heard on regular network radio. Later border station disc jockeys, such as Wolfman Jack, were instrumental in bringing rock and roll music to a wider audience (Rudel, 2008). Television Steals the Show A great deal of radio’s success as a medium during the 1920s and 1930s was due to the fact that no other medium could replicate it. This changed in the late 1940s and early 1950s as television became popular. A 1949 poll of people who had seen television found that almost half of them believed that radio was doomed (Gallup, 1949). Television sets had come on the market by the late 1940s, and by 1951, more Americans were watching television during prime time than ever (Bradley). Famous radio programs such as The Bob Hope Show were made into television shows, further diminishing radio’s unique offerings (Cox, 1949). Surprisingly, some of radio’s most critically lauded dramas launched during this period. Gunsmoke, an adult-oriented Western show (that later become television’s longest-running show) began in 1952; crime drama Dragnet, later made famous in both television and film, broadcast between 1949 and 1957; and Yours Truly, Johnny Dollar aired from 1949 to 1962, when CBS canceled its remaining radio dramas. However, these respected radio dramas were the last of their kind (Cox, 2002). Although radio was far from doomed by television, its Golden Age was. Transition to Top 40 As radio networks abandoned the dramas and variety shows that had previously sustained their formats, the soundscape was left to what radio could still do better than any other mass medium: play music. With advertising dollars down and the emergence of better recording formats, it made good business sense for radio to focus on shows that played prerecorded music. As strictly music stations began to rise, new innovations to increase their profitability appeared. One of the most notable and far-reaching of these innovations was the Top 40 station, a concept that supposedly came from watching jukebox patrons continually play the same songs (Brewster & Broughton, 2000). Robert Storz and Gordon McLendon began adapting existing radio stations to fit this new format with great success. In 1956, the creation of limited playlists further refined the format by providing about 50 songs that disc jockeys played repeatedly every day. By the early 1960s, many stations had developed limited playlists of only 30 songs (Walker, 2001). Another musically fruitful innovation came with the increase of Black disc jockeys and programs created for Black audiences. Because its advertisers had nowhere to go in a media market dominated by White performers, Black radio became more common on the AM dial. As traditional programming left radio, disc jockeys began to develop as the medium’s new personalities, talking more in between songs and developing followings. Early Black disc jockeys even began improvising rhymes over the music, pioneering techniques that later became rap and hip-hop. This new personality-driven style helped bring early rock and roll to new audiences (Walker, 2001). FM: The High-Fidelity Counterculture As music came to rule the airwaves, FM radio drew in new listeners because of its high-fidelity sound capabilities. When radio had primarily featured dramas and other talk-oriented formats, sound quality had simply not mattered to many people, and the purchase of an FM receiver did not compete with the purchase of a new television in terms of entertainment value. As FM receivers decreased in price and stereo recording technology became more popular, however, the high-fidelity trend created a market for FM stations. Mostly affluent consumers began purchasing component stereos with the goal of getting the highest sound quality possible out of their recordings (Douglas, 2004). Although this audience often preferred classical and jazz stations to Top 40 radio, they were tolerant of new music and ideas (Douglas, 2004). Both the high-fidelity market and the growing youth counterculture of the 1960s had similar goals for the FM spectrum. Both groups eschewed AM radio because of the predictable programming, poor sound quality, and over-commercialization. Both groups wanted to treat music as an important experience rather than as just a trendy pastime or a means to make money. Many adherents to the youth counterculture of the 1960s came from affluent, middle-class families, and their tastes came to define a new era of consumer culture. The goals and market potential of both the high-fidelity lovers and the youth counterculture created an atmosphere on the FM dial that had never before occurred (Douglas, 2004). Between the years 1960 and 1966, the number of households capable of receiving FM transmissions grew from about 6.5 million to some 40 million. The FCC also aided FM by issuing its nonduplication ruling in 1964. Before this regulation, many AM stations had other stations on the FM spectrum that simply duplicated the AM programming. The nonduplication rule forced FM stations to create their own fresh programming, opening up the spectrum for established networks to develop new stations (Douglas, 2004). The late 1960s saw new disc jockeys taking greater liberties with established practices; these liberties included playing several songs in a row before going to a commercial break or airing album tracks that exceeded 10 minutes in length. University stations and other nonprofit ventures to which the FCC had given frequencies during the late 1940s popularized this format, and, in time, commercial stations tried to duplicate their success by playing fewer commercials and by allowing their disc jockeys to have a say in their playlists. Although this made for popular listening formats, FM stations struggled to make the kinds of profits that the AM spectrum drew (Douglas, 2004). In 1974, FM radio accounted for one-third of all radio listening but only 14 percent of radio profits (Douglas, 2004). Large network stations and advertisers began to market heavily to the FM audience in an attempt to correct this imbalance. Stations began tightening their playlists and narrowing their formats to please advertisers and to generate greater revenues. By the end of the 1970s, radio stations were beginning to play specific formats, and the progressive radio of the previous decade had become difficult to find (Douglas, 2004). The Rise of Public Radio After the Golden Age of Radio came to an end, most listeners tuned in to radio stations to hear music. The variety shows and talk-based programs that had sustained radio in early years could no longer draw enough listeners to make them a successful business proposition. One divergent path from this general trend, however, was the growth of public radio. Groups such as the Ford Foundation had funded public media sources during the early 1960s. When the foundation decided to withdraw its funding in the middle of the decade, the federal government stepped in with the Public Broadcasting Act of 1967. This act created the Corporation for Public Broadcasting (CPB) and charged it with generating funding for public television and radio outlets. The CPB in turn created National Public Radio (NPR) in 1970 to provide programming for already-operating stations. Until 1982, in fact, the CPB entirely and exclusively funded NPR. Public radio’s first program was All Things Considered, an evening news program that focused on analysis and interpretive reporting rather than cutting-edge coverage. In the mid-1970s, NPR attracted Washington-based journalists such as Cokie Roberts and Linda Wertheimer to its ranks, giving the coverage a more professional, hard-reporting edge (Schardt, 1996). However, in 1983, public radio was pushed to the brink of financial collapse. NPR survived in part by relying more on its member stations to hold fundraising drives, now a vital component of public radio’s business model. In 2003, Joan Kroc, the widow of McDonald’s CEO and philanthropist Ray Kroc, bequeathed a grant of over $200 million to NPR that may keep it afloat for many years to come. Having weathered the financial storm intact, NPR continued its progression as a respected news provider. During the first Gulf War, NPR sent out correspondents for the first time to provide in-depth coverage of unfolding events. Public radio’s extensive coverage of the 2001 terrorist bombings gained its member stations many new listeners, and it has since expanded (Clift, 2011). Although some have accused NPR of presenting the news with a liberal bias, its listenership in 2005 was 28 percent conservative, 32 percent liberal, and 29 percent moderate. Newt Gingrich, a conservative Republican and former speaker of the house, has stated that the network is “a lot less on the left” than some may believe (Sherman, 2005). With more than 26 million weekly listeners and 860 member stations in 2009, NPR has become a leading radio news source (Kamenetz, 2009). Public radio distributors such as Public Radio International (PRI) and local public radio stations such as WBEZ in Chicago have also created a number of cultural and entertainment programs, including quiz shows, cooking shows, and a host of local public forum programs. Storytelling programs such as This American Life have created a new kind of free-form radio documentary genre, while shows such as PRI’s variety show A Prairie Home Companion have revived older radio genres. This variety of popular public radio programming has shifted radio from a music-dominated medium to one that is again exploring its vast potential. During the early 1990s, many radio stations suffered the effects of an economic recession. Some stations initiated local marketing agreements (LMAs) to share facilities and resources amid this economic decline. LMAs led to consolidation in the industry as radio stations bought other stations to create new hubs for the same programming. The Telecommunications Act of 1996 further increased consolidation by eliminating a duopoly rule prohibiting dual station ownership in the same market and by lifting the numerical limits on station ownership by a single entity. As large corporations such as Clear Channel Communications bought up stations around the country, they reformatted stations that had once competed against one another so that each focused on a different format. This practice led to mainstream radio’s present state, in which narrow formats target highly specific demographic audiences. Ultimately, although the industry consolidation of the 1990s made radio profitable, it reduced local coverage and diversity of programming. Because stations around the country served as outlets for a single network, the radio landscape became more uniform and predictable (Keith, 2010). Much as with chain restaurants and stores, some people enjoy this type of predictability, while others prefer a more localized, unique experience (Keith, 2010). - The Golden Age of Radio covered the period between 1930 and 1950. It was characterized by radio’s overwhelming popularity and a wide range of programming, including variety, music, drama, and theater programs. - Top 40 radio arose after most nonmusic programming moved to television. This format used short playlists of popular hits and gained a great deal of commercial success during the 1950s and 1960s. - FM became popular during the late 1960s and 1970s as commercial stations adopted the practices of free-form stations to appeal to new audiences who desired higher fidelity and a less restrictive format. - Empowered by the Telecommunications Act of 1996, media conglomerates have subsumed unprecedented numbers of radio stations by single companies. Radio station consolidation brings predictability and profits at the expense of unique programming. Please respond to the following short-answer writing prompts. Each response should be a minimum of one paragraph. - Explain the advantages that radio had over traditional print media during the 1930s and 1940s. - Do you think that radio could experience another golden age? Explain your answer. - How has the consolidation of radio stations affected radio programming? - Characterize the overall effects of one significant technological or social shift described in this section on radio as a medium. Bradley, Becky. “American Cultural History: 1950–1959,” Lone Star College, Kingwood, http://kclibrary.lonestar.edu/decade50.html. Brewster, Bill and Frank Broughton, Last Night a DJ Saved My Life: The History of the Disc Jockey, (New York: Grove Press, 2000), 48. Brinson, Susan. The Red Scare, Politics, and the Federal Communications Commission, 1941–1960 (Westport, CT: Praeger, 2004), 42. Brown, Manipulating the Ether, 123. Brown, Robert. Manipulating the Ether: The Power of Broadcast Radio in Thirties America (Jefferson, NC: MacFarland, 1998), 134–137. Browne, Ray and Glenn Browne, Laws of Our Fathers: Popular Culture and the U.S. Constitution (Bowling Green, OH: Bowling Green State University Popular Press, 1986), 132. Cashman, America in the Twenties and Thirties, 327. Cashman, Sean. America in the Twenties and Thirties: The Olympian Age of Franklin Delano Roosevelt (New York: New York University Press, 1989), 328. Clift, Nick. “Viewpoint: Protect NPR, It Protects Us,” Michigan Daily, February 15, 2011, http://www.michigandaily.com/content/viewpoint-npr. Coe, Lewis. Wireless Radio: A Brief History (Jefferson, NC: MacFarland, 1996), 4–10. Cox, Jim. American Radio Networks: A History (Jefferson, NC: MacFarland, 2009), 171–175. Cox, Jim. Say Goodnight, Gracie: The Last Years of Network Radio (Jefferson, NC: MacFarland, 2002), 39–41. Dash, Mike. “John Brinkley, the goat-gland quack,” The Telegraph, April 18, 2008, http://www.telegraph.co.uk/culture/books/non_fictionreviews/3671561/John-Brinkley-the-goat-gland-quack.html. Douglas, Susan. Listening In: Radio and the American Imagination (Minneapolis: University of Minnesota Press, 2004), 266–268. Gallup, George. “One-Fourth in Poll Think Television Killing Radio,” Schenectady (NY) Gazette, June 8, 1949, http://news.google.com/newspapers?id=d3YuAAAAIBAJ&sjid=loEFAAAAIBAJ&pg=840,1029432&dq=radio-is-doomed&hl=en. Grant, John. Experiments and Results in Wireless Telegraphy (reprinted from The American Telephone Journal, 49–51, January 26, 1907), http://earlyradiohistory.us/1907fes.htm. Hilmes, Radio Voices, 183–185. Hilmes, Michele. Radio Voices: American Broadcasting 1922–1952 (Minneapolis: University of Minnesota Press, 1999), 157. Horten, Gerd. Radio Goes to War: The Cultural Politics of Propaganda During World War II (Los Angeles: University of California Press, 2002), 48–52. Kamenetz, Anya. “Will NPR Save the News?” Fast Company, April 1, 2009, http://www.fastcompany.com/magazine/134/finely-tuned.html. Keith, Michael. The Radio Station: Broadcast, Satellite and Internet (Burlington, MA: Focal Press, 2010), 17–24. Longley, Lawrence D. “The FM Shift in 1945,” Journal of Broadcasting 12, no. 4 (1968): 353–365. McChesney, Robert W. “Media and Democracy: The Emergence of Commercial Broadcasting in the United States, 1927–1935,” in “Communication in History: The Key to Understanding,” OAH Magazine of History 6, no. 4 (1992). McLeod, Elizabeth. “The WGY Players and the Birth of Radio Drama,” 1998, http://www.midcoast.com/~lizmcl/wgy.html. Mitchell, Jack. Listener Supported: The Culture and History of Public Radio (Westport, CT: Praeger, 2005), 21–24. Museum, “Soap Opera,” The Museum of Broadcast Communications, http://www.museum.tv/eotvsection.php?entrycode=soapopera. Pacifica Network, “Pacifica Network Stations,” The Pacifica Foundation, http://pacificanetwork.org/radio/content/section/7/42/. PBS, “Guglielmo Marconi,” American Experience: People & Events, http://www.pbs.org/wgbh/amex/rescue/peopleevents/pandeAMEX98.html. Rudel, Anthony. Hello, Everybody! The Dawn of American Radio (Orlando, FL: Houghton Mifflin Harcourt, 2008), 130–132. Schardt, Sue. “Public Radio—A Short History,” Christian Science Monitor Publishing Company, 1996, http://www.wsvh.org/pubradiohist.htm. Sherman, Scott. “Good, Gray NPR,” The Nation, May 23, 2005, 34–38. Sterling, Christopher and John Kittross, Stay Tuned: A History of American Broadcasting, 3rd ed. (New York: Routledge, 2002), 124. ThinkQuest, “Radio’s Emergence,” Oracle ThinkQuest: The 1920s, http://library.thinkquest.org/27629/themes/media/md20s.html. Walker, Jesse. Rebels on the Air: An Alternative History of Radio in America (New York: New York University Press, 2001), 56. White, “Broadcasting After World War I (1919–1921),” United States Early Radio History, http://earlyradiohistory.us/sec016.htm. White, “News and Entertainment by Telephone (1876–1925),” United States Early Radio History, http://earlyradiohistory.us/sec003.htm. White, “Pre-War Vacuum Tube Transmitter Development 1914–1917),” United States Early Radio History, http://earlyradiohistory.us/sec011.htm. White, Thomas. “Pioneering Amateurs (1900–1917),” United States Early Radio History, http://earlyradiohistory.us/sec012.htm.

<urn:uuid:4218a487-0b90-49b9-8738-e4eaebefae57>

CC-MAIN-2023-40

https://open.lib.umn.edu/mediaandculture/chapter/7-2-evolution-of-radio-broadcasting/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506027.39/warc/CC-MAIN-20230921105806-20230921135806-00069.warc.gz

en

How to make study notes – In this post, we are providing students with creative writing to make study notes for different exams. After reading this article, students will be able to make study notes on the following queries: - How to make concise study notes - How to make study notes with mind-maps - How to make study notes effectively - How to make beautiful study notes - How to make study notes from a textbook - How to make study notes in laptop - How to make study notes on iPad - How to make study notes on word Table of Contents Clear Your Concepts How to make study notes Making study notes involves condensing and organizing information to aid in effective learning. Start by actively engaging with the material and understanding key concepts. Structure your notes using concise and clear language, bullet points, and headings. Highlight important points, definitions, and formulas. Incorporate visual aids like diagrams and charts for better understanding. Use abbreviations and symbols to save space and improve readability. Review and revise your notes regularly to reinforce learning. The key is to focus on capturing essential information concisely and organized that suits your learning style and facilitates quick revision. |⟫ How to Make Study Notes| |⟫ Ideal Study Time Table and Tips from Toppers| |⟫ How to prepare for Government Exams at Home| |⟫ Time Management Skills of Toppers| |⟫ Secret Study Tips for Toppers| |⟫ How to maintain a healthy lifestyle while studying| How to make concise study notes To make concise study notes, follow these steps: - Skim and preview the material: Quickly review the content for an overview of the key topics and subtopics. This will help you identify the most important information. - Focus on key points: As you read the material more thoroughly, identify the main ideas, definitions, formulas, and examples. Highlight or underline them to make them stand out. - Use abbreviations and symbols: Find ways to condense information using abbreviations, acronyms, and symbols. For example, “w/” for “with,” “eg.” for “for example,” or arrows to represent cause-and-effect relationships. This saves space and makes your notes more concise. - Organize with headings and subheadings: Use clear headings and subheadings to categorize different topics and subtopics. This helps create a logical structure in your notes and makes reviewing and locating information easier. - Utilize bullet points and numbering: Instead of writing in long paragraphs, use bullet points and numbering to list key information. This makes your notes more scannable and helps you grasp the main points quickly. - Include diagrams and visuals: Visual aids can enhance understanding and retention. Whenever possible, include diagrams, flowcharts, graphs, or tables illustrating concepts and relationships between ideas. - Keep it simple and concise: - Avoid unnecessary details and excessive explanations. - Stick to the core concepts and essential information. - Use your words to summarize and rephrase complex ideas, focusing on clarity and simplicity. - Use different colors and formatting: Employ different colors, fonts, and formatting techniques to highlight important information, headings, or keywords. This adds visual appeal and makes your notes more engaging and memorable. - Review and revise regularly: - Review your notes to reinforce your understanding. - Revise them periodically to ensure they remain up-to-date and accurate. - Add any additional information or insights you may have gained during your studies. - Personalize your notes: - Tailor your notes to suit your learning style. - Add personal examples, mnemonics, or mnemonic devices that help you remember key information. - Customize your notes to make them more meaningful and relevant to you. Remember, the goal is to create a condensed and organized summary of the material that captures the most important points. Experiment with different techniques and find what works best for you. How to make study notes with mind-maps Creating study notes with mind maps can be a highly effective way to organize and review information visually. Here’s how you can make study notes using mind maps: 1. Start with a central topic: Write the main topic or subject you’re studying at the center of a blank page or canvas. Draw a circle or any other shape around it. 2. Branch out with main ideas: Identify the main ideas or subtopics related to the central topic and draw branches from the center. Each branch represents a key concept or subtopic. 3. Add secondary branches: From each main branch, create secondary branches to represent supporting details, examples, or subtopics related to the main ideas. These secondary branches form a hierarchical structure around the central topic. 4. Use keywords and images: Instead of writing lengthy sentences, use keywords or short phrases to capture the essence of each idea. This keeps the mind map concise and allows for quick understanding. You can also incorporate relevant images, symbols, or icons to enhance visual memory. 5. Use color and formatting: Use different colors to distinguish between branches or highlight important information. Bold or underline keywords to make them stand out. This visual differentiation aids in memory recall and organization. 6. Connect and cross-reference: Draw lines or arrows between related concepts to show connections, relationships, or dependencies. This helps us understand how different ideas relate to each other and form a cohesive structure. 7. Keep it visually balanced: Ensure your mind map is visually balanced, with similar levels of information on each side. This makes it easier to scan and review the map as a whole. 8. Review and revise: Regularly review your mind-map notes. As you revise the material, update and refine your mind map accordingly. Add new information or make connections you may have missed initially. 9. Practice active engagement: While creating the mind map, actively engage with the material by summarizing key points and linking ideas. This enhances your understanding and retention of the information. 10. Customize it to your preference: Experiment with different styles, layouts, and structures to find what works best. Adapt the mind-map format to suit your learning style and make it visually appealing and intuitive for your studying needs. Mind maps provide a visual overview of the subject matter, making comprehending and recalling information easier. By organizing concepts in a connected and visually stimulating manner, you can create study notes that are highly effective for revision and exam preparation. How to make study notes effectively To make study notes effectively, follow these tips: - Actively engage with the material and understand key concepts. - Be concise and focus on the main ideas, definitions, and examples. - Use headings, bullet points, and numbering for an organization. - Highlight or underline important information. - Utilize abbreviations and symbols to save space. - Include visual aids like diagrams or charts. - Review and revise regularly to reinforce learning. - Personalize notes with examples or mnemonic devices. - Keep them organized and easily accessible. - Prioritize clarity and simplicity. Customize your approach based on your learning style. Experiment to find what works best for you. |Social Security in India Notes||Industrial Relations & Labour Laws Notes| |Insurance Notes||General Accounting Principle Notes| |Science Notes||Polity Notes| |Economics Notes||History Notes| How to make study notes from a textbook Creating effective study notes from a textbook can greatly enhance your understanding and retention of the material. Here’s a step-by-step guide to help you make comprehensive and organized study notes: - Skim the chapter: Begin by skimming through the chapter quickly to get an overview of its content. Pay attention to headings, subheadings, and any highlighted or bolded text. This step will help you understand the chapter’s structure and main ideas. - Read the chapter carefully: Read the chapter thoroughly, focusing on understanding the concepts, arguments, and examples presented. Take your time to grasp the material and make a note of any key points or ideas. - Summarize key information: After reading a section or paragraph, summarize the main points in your own words. Avoid copying word-for-word from the textbook to encourage active engagement with the material. Keep your summaries concise and to the point. - Use headings and subheadings: Organize your notes using headings and subheadings that reflect the chapter’s structure. This helps you categorize information and find specific topics easily when reviewing. - Highlight and underline: While reading, use highlighting and underlining to mark important concepts, definitions, formulas, or examples. This visual aid will make it easier to spot key information when you review your notes later. - Diagrams and visuals: If the textbook includes diagrams, graphs, or visual representations of concepts, make sure to include them in your notes. These visuals can often convey complex information more effectively than text alone. - Add personal examples: Supplement the textbook content with your own examples or real-life applications to enhance your understanding. Relating the material to practical situations or personal experiences can make it more memorable. - Include questions and prompts: As you read, jot down questions or prompts related to the content. This will help you engage with the material actively and can serve as a valuable review tool later on. - Review and revise: Review your study notes regularly to reinforce the information. Revise your notes periodically to ensure accuracy and clarity. You may also consider condensing and summarizing your notes further for quick reference. - Make connections: Look for connections between different chapters or sections within the textbook. Consider how concepts relate to each other or to previously covered material. This approach promotes a deeper understanding of the subject matter. - Use visual aids: Utilize visual aids such as flowcharts, mind maps, or concept diagrams to represent the relationships between different topics. These visual tools can help you visualize the content and reinforce your understanding. - Create a summary or cheat sheet: Towards the end of each chapter or topic, create a summary or cheat sheet that condenses the most important information concisely and organized. This document will be especially useful for a quick review before exams or tests. Remember, the goal of making study notes is to capture the essential information, facilitate understanding, and aid in efficient review. Experiment with different note-taking techniques and formats to find what works best for you. How to make study notes on laptop Making study notes on a laptop offers several advantages, such as easy editing, organization, and incorporation of multimedia elements. Here’s a step-by-step guide on how to create study notes on your laptop: - Choose a note-taking application: There are several note-taking applications available for laptops, such as Microsoft OneNote, Evernote, Google Keep, or Apple Notes. Select a tool that suits your preferences and offers the features you need, such as text formatting, the ability to insert images or diagrams, and easy organization. - Create a new note: Open your chosen note-taking application and create a new note specific to the subject or chapter you’re studying. Please give it a clear and descriptive title. - Start with headings: Use headings and subheadings to structure your notes. This helps organize information and makes it easier to navigate through your notes later. Typically, you can use larger font sizes or bold text for headings to make them stand out. - Type key points and summaries: Begin typing the key points, main ideas, and summaries of the material you’re studying. Try to condense the information into concise sentences or bullet points. Avoid copying large chunks of text verbatim, and use your own words to demonstrate understanding. - Utilize formatting options: Take advantage of the formatting options provided by your note-taking application. Use bold or italic text to emphasize important terms or concepts. Create numbered or bulleted lists to present information in an organized manner. - Insert images and diagrams: If your study material includes images, diagrams, or graphs, you can insert them directly into your notes. This is particularly helpful for subjects that rely heavily on visuals, such as biology or geography. You can copy and paste the textbook’s images or use online resources. - Link additional resources: Insert hyperlinks to external resources, such as online articles, research papers, or supplementary materials that further explain or expand on the topics you’re studying. This allows you to access additional information with a simple click. - Add personal examples or annotations: Enhance your notes by including personal examples or annotations that help you understand the material better. You can use coloured text, highlighters, or sticky notes within the application to draw attention to these annotations. - Create tables or charts: For subjects that involve a lot of data or comparisons, consider creating tables or charts to present the information visually. Note-taking applications often have built-in tools to create tables, or you can copy and paste from spreadsheet software like Microsoft Excel or Google Sheets. - Review and revise: Regularly review and revise your digital study notes to reinforce your understanding and ensure accuracy. Correct errors, add missing information, or rephrase concepts for clarity. Use the search function within your note-taking application to quickly find specific topics when reviewing. - Organize and categorize your notes: Use folders, tags, or labels within your note-taking application to organize your notes effectively. Create a logical folder structure based on subjects, chapters, or topics to make locating specific information in the future easier. - Back up your notes: Regularly back up your study notes to avoid losing them in case of laptop malfunctions or accidents. Sync your notes to the cloud or use backup services to ensure they’re securely stored. Remember to customize your note-taking process based on your learning style and preferences. Experiment with different formatting options, organization techniques, and multimedia elements to create study notes that best suit your needs. Buy Best PDF Notes at Affordable Prices How to make study notes on iPad Making study notes on an iPad provides the convenience of a portable device with various note-taking and annotation features. Here’s a step-by-step guide on how to create study notes on an iPad: - Choose a note-taking app: There are several note-taking apps available for iPads, such as Apple Notes, Notability, GoodNotes, or Evernote. Select an app that suits your needs and preferences. Consider factors like handwriting capabilities, text formatting options, audio recording, and integration with cloud storage. - Create a new notebook or folder: Open your chosen note-taking app and create a new notebook or folder specific to the subject or chapter you’re studying. This helps keep your notes organized and easy to navigate. - Handwrite or type your notes: Depending on your preference and the capabilities of the app, you can either handwrite your notes using the Apple Pencil or type them using the iPad’s on-screen keyboard. Choose the method that is most comfortable and efficient for you. - Use headings and subheadings: Use headings and subheadings to structure your notes and create a hierarchy of information. This makes it easier to navigate through your notes and find specific topics quickly. Many note-taking apps allow you to easily format text as headings. - Highlight and underline: If your note-taking app supports highlighting and underlining, use these features to mark important concepts, definitions, or examples. This visual aid can help you quickly identify key information when reviewing your notes. - Insert images and diagrams: Take advantage of the iPad’s capabilities to insert images, diagrams, or graphs directly into your notes. You can import images from the Photos app or copy and paste them from other sources like textbooks or websites. Annotate the images with handwritten or typed notes to provide additional context. - Record audio (if available): Some note-taking apps offer the ability to record audio while taking notes. If available, use this feature to record lectures, discussions, or explanations. Later, you can review your notes while listening to the corresponding audio, which can enhance your understanding and recall. - Utilize drawing tools: Many note-taking apps provide drawing tools that allow you to create diagrams, sketches, or concept maps. These tools are useful for subjects that involve visual representations. Use different colors, pens, or shapes to create clear and visually appealing drawings. - Add annotations and highlights: Use the annotation tools within your note-taking app to add additional notes, explanations, or annotations to your existing notes. You can draw arrows, circle important information, or add side notes to clarify concepts further. - Sync with cloud storage: Ensure that your notes are backed up and accessible across multiple devices by syncing your notes with cloud storage services like iCloud, Dropbox, or Google Drive. This ensures that your notes are safe and can be accessed from any device with the note-taking app installed. - Review and revise: Regularly review and revise your study notes to reinforce your understanding and retention of the material. Make any necessary corrections, add missing information, or rephrase concepts for better clarity. - Use search and organization features: Take advantage of the search function within your note-taking app to quickly find specific topics or keywords within your notes. Utilize organizational features like folders, tags, or labels to categorize and sort your notes effectively. Remember to experiment with different features and options offered by your chosen note-taking app to find the best way to create and organize your study notes on your iPad. Customizing your note-taking process based on your learning style and preferences will help you maximize the benefits of digital note-taking. More Competitive & Government Exams and Jobs Links How to make study notes on word Making study notes on Microsoft Word provides a versatile and widely available platform for creating organized and customizable notes. Here’s a step-by-step guide on how to create study notes on Word: - Open Microsoft Word: Launch Microsoft Word on your computer. - Create a new document: Click on “File” in the top left corner and select “New” to create a new document. Alternatively, use the shortcut Ctrl+N (Windows) or Command+N (Mac). - Set up headings and subheadings: Use headings and subheadings to structure your notes. Click “Home” in the top menu and choose the appropriate heading style from the “Styles” section. Alternatively, use the shortcut Ctrl+Alt+1 (Windows) or Command+Option+1 (Mac) for Heading 1, Ctrl+Alt+2 (Windows) or Command+Option+2 (Mac) for Heading 2, and so on. This helps organize your information and creates a clear hierarchy. - Type your notes: Begin typing your notes under each heading. Start with key points, main ideas, or summaries of your study material. Use concise sentences or bullet points to capture the information. Use your own words to demonstrate understanding and avoid copying lengthy sections from textbooks or other sources. - Utilize formatting options: Microsoft Word offers various formatting options to enhance the appearance and organization of your notes. You can use bold, italic, or underlining to emphasize important terms or concepts. Create numbered or bulleted lists to present information in an organized manner. - Insert images and diagrams: If your study material includes images, diagrams, or graphs, you can insert them into your Word document. Click on the “Insert” tab in the top menu, then select “Picture” to insert images from your computer. You can also use online resources or copy and paste images from other sources like textbooks or websites. - Add personal examples or annotations: Enhance your notes by including personal examples or annotations that help you understand the material better. You can use different text colors, highlighters, or comments within Word to draw attention to these annotations. - Create tables or charts: For subjects that involve a lot of data or comparisons, consider creating tables or charts in Word. Click on the “Insert” tab and select the appropriate table or chart type. Customize the table or chart with your data to present the information visually. - Use hyperlinks: Insert hyperlinks to external resources, such as online articles, research papers, or supplementary materials that further explain or expand on the topics you’re studying. Highlight the text you want to turn into a hyperlink, right-click, and select “Hyperlink” to add the URL or browse for a file. - Review and revise: Regularly review and revise your study notes to reinforce your understanding and ensure accuracy. Correct errors, add missing information, or rephrase concepts for clarity. Use the “Find” function (Ctrl+F or Command+F) to search for specific terms or topics within your notes. - Organize your notes with headings and sections: Use headings, subheadings, and section breaks to divide your notes into logical sections. This helps you navigate through your document easily and find specific information quickly. Click on the “Insert” tab and select “Page Break” to insert section breaks. - Save and back up your notes: Save your study notes regularly to avoid losing them in case of computer malfunctions or accidents. Use the “Save” option (Ctrl+S or Command+S) or click on the floppy disk icon in the top menu. For added security, consider backing up your notes to cloud storage or an external device. Customize your note-taking process based on your learning style and preferences within Microsoft Word. Experiment with different formatting options Best Courses & Test Series Quality at Affordable Prices FAQs on How to make study notes Q1: What is the purpose of making study notes? A: The purpose of making study notes is to condense and organize information from textbooks or lectures into a format that is easier to review and understand. Study notes help improve retention, aid in active learning, and serve as a valuable resource for exam preparation. Q2: Should I handwrite or type my study notes? A: The choice between handwriting and typing study notes depends on personal preference and the context. Handwriting notes can enhance memory and comprehension, especially for complex subjects. Typing notes on a computer or device offers the benefits of easy editing, searchability, and the ability to incorporate multimedia elements. Q3: How do I make my study notes more engaging? A: To make study notes more engaging, use colors, highlighters, and visual aids such as diagrams or mind maps. Include personal examples, anecdotes, or real-life applications of the concepts being studied. Use formatting options like bold or italic text to emphasize important information. Q4: How often should I review and revise my study notes? A: It is recommended to review and revise your study notes regularly to reinforce the information in your memory. Set a schedule for reviewing your notes, such as daily or weekly, depending on the intensity of your study. Regular review helps in long-term retention and prepares you for exams or assessments. Q5: What are the best apps to make online study notes? A: There are several excellent apps available for making online study notes. Here are some popular options: 1. Microsoft OneNote: A versatile note-taking app that allows you to create and organize digital notebooks, insert multimedia, and collaborate with others. 2. Evernote: A feature-rich note-taking app with a clean interface, offering various formatting options, multimedia integration, and synchronization across devices. 3. Google Keep: A simple and user-friendly note-taking app that syncs seamlessly with other Google services, allowing you to create notes, add images, and set reminders. 4. Notion: A highly customizable productivity app that enables you to create comprehensive study notes using text, tables, calendars, and even databases. 5. GoodNotes (for iPad): An app specifically designed for iPad users, providing a realistic handwriting experience and the ability to annotate PDFs and import images. 6. Apple Notes (for iOS and macOS): A built-in app for Apple devices that offers a straightforward note-taking experience, supports handwriting, multimedia insertion, and iCloud synchronization.

<urn:uuid:3b721bee-ade3-48bc-9d3f-de8f2afaeb7d>

CC-MAIN-2023-40

https://nishanteacademy.in/how-to-make-study-notes/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510219.5/warc/CC-MAIN-20230926175325-20230926205325-00870.warc.gz

en

Greek theater has a rich history that dates back to the 5th century BC. An interesting example of its enduring influence can be seen in the case of Dionysus, an Athenian playwright who is credited with creating Greek tragedy. His plays were hugely popular and often included themes such as love, revenge, and justice which remain relevant today. As this article will explore, Greek theater was so influential that it continues to shape other forms of art even centuries later. The emergence of Greek theater coincided with the rise of democracy in Athens during the 6th century BC. This period marked a shift from religious ceremonies towards more secular performances for entertainment purposes. It was during this time that festivals called “Dionysia” began to take place annually at which citizens would gather to watch theatrical productions written by renowned poets like Sophocles and Euripides. In addition to shaping literature, Greek theater also had an impact on visual arts such as painting and sculpture. Ancient Greeks used masks to signify characters’ emotions while actors wore costumes designed according to their role in the production; these elements remain commonplace in modern day theater performance. Furthermore, archeological excavation sites have revealed evidence indicating that theaters themselves were constructed using sophisticated engineering techniques including elaborate acoustical design. The influence of Greek theater can also be seen in modern film. Aspiring filmmakers continue to draw inspiration from the structure and conventions established by ancient Greek playwrights, with many cinematic techniques such as montage and parallel editing being adopted directly from theatrical devices used centuries ago. Additionally, many popular movie genres today have their roots in Greek tragedy, including horror, science fiction, and romantic comedy. Ultimately, it is clear that while Greek theater may have faded into history over two thousand years ago, its impact on art has endured for generations and continues to be felt today. From literature to visual arts to cinema, we are still surrounded by the lasting legacy of this important form of cultural expression. Origins of Greek Theater The origins of Greek theater can be traced back to ancient religious rituals that were held in honor of the gods. In these early ceremonies, song and dance were used to tell stories about legends, heroes, and deities. An example is a ritual known as “the City Dionysia” which was held annually during the month of March in Athens. This event featured performances by three tragedians who presented plays focused on mythic tales from the past such as Oedipus Rex by Sophocles and The Bacchae by Euripides. As theatrical events became more popular, theaters began to be built across Greece that could accommodate larger audiences. Ancient Greeks recognized the importance of having an appropriate space for their performances; they designed theaters with specific features that had symbolic meaning or enhanced audience participation. Three main elements of theater architecture and design included: 1) A raised stage area where actors would perform surrounded by a chorus and orchestra pit. 2) Tiered seating so all members of the audience could have an unobstructed view of the performance. 3) An open-air roofless structure allowing direct sunlight to reach both actors and spectators alike creating an immersive experience for everyone involved. These architectural choices not only provided comfort for those attending but also symbolically represented aspects of nature like sky, earth, water, and fire—all connected to the divine forces believed to influence life on Earth according to ancient beliefs. By combining this physical environment with musical accompaniment and captivating storytelling techniques, Greek Theater achieved its timeless appeal among audiences throughout generations making it one of history’s most influential art forms up until today’s standards. As we transition into discussing how theater architecture has evolved over time due to changing social customs and traditions, let us take a look at what sets it apart from other theatrical styles around the world. Theater Architecture and Design The origins of Greek theater can be traced back to the 6th century BCE, when religious festivals were held in honor of Dionysus, the god of fertility and wine. While there is evidence that these events involved some sort of performance, little is known about what form this took. As such, it cannot be said for certain when exactly drama first appeared in Greece. Despite this lack of certainty, it has been suggested that an entity called ‘thespis’ – a performer who would act out stories while singing or chanting poetry – was likely responsible for developing the early forms of Greek tragedy and comedy. In order to understand how Greek theater evolved into its modern-day form, it is important to examine its architecture and design. Ancient theaters consisted mainly of three distinct components: the orchestra (which served as a stage), the skene (a backdrop) and the audience seating area (or auditorium). The theater at Epidaurus provided an example of a typical ancient structure; built on two terraces separated by a walled courtyard, this theatre could accommodate up to 14000 people during performances. It featured stepped tiers where spectators sat which gradually curved up around the orchestra like an inverted bowl creating perfect acoustics throughout the entire amphitheater. From here, other features began to appear in theatres across Greece including trapdoors so actors could make dramatic entrances from below stage level, painted backgrounds depicting scenes from mythology and structures designed specifically for choral groups such as choirs and dance troupes. In addition to these elements, many cultures also incorporated their own unique cultural traditions into their theatrical designs, introducing masks and costumes associated with specific characters or gods they wished to venerate through ritualistic performance art. These observations demonstrate how over time various aspects have contributed towards shaping today’s conception of Greek Theater: - Sophisticated engineering capabilities allowed architects to create impressive large scale buildings with intricate acoustic properties; - Creative use of props such as masks enabled performers to vividly portray mythological tales; - Innovative choreography crafted memorable spectacles for audiences members alike. Clearly then, despite its humble beginnings thousands of years ago Greek theater has undergone significant change since those days but still retains much of its original charm today due largely in part thanks to advances made in both practicality and aesthetic appeal within its respective architectural designs. With that being said, let us now turn our attention toward exploring another key aspect integral to understanding this celebrated art form – characteristics of Greek Theater itself. Characteristics of Greek Theater Greek theater has been a major influence in the development of modern theater around the world. It is characterized by its unique design and architecture, as well as certain distinct features. A good example of traditional Greek Theater can be found at Epidaurus in Greece which was built in the 4th century BC. This amphitheater still stands today and serves as an important reminder of this ancient form of storytelling and entertainment. The characteristics of classical Greek theater are evident both in terms of acting style and theatrical structure. Actors would often portray characters through their physical movements and facial expressions rather than relying on elaborate costumes or props. The story was then told mainly through dialogue that was spoken directly to the audience from a raised stage known as the ‘orchestra’ In addition, there were specific conventions used to indicate different emotions such as anger, sadness or joy. For example, actors could use hand gestures or body language to show how they felt about something without actually saying anything out loud. Furthermore, music and song were also frequently incorporated into performances so that it could help set moods or emphasize particular points within the narrative. Greek theaters had several distinctive elements including: - An elevated stage – called the orchestra where actors performed; - An area for seating spectators – usually arranged in tiers radiating outward from the orchestra; - Scenic backdrops – typically painted on large wooden panels behind the stage; - Music – most commonly using pipes and drums played during interludes between scenes; These components all helped to create a powerful atmosphere for audiences to experience stories come alive on stage before them. By combining these various theatrical techniques together with emotive dialogues, visual effects, music, lighting and costume designs, Greek theater created an immersive environment where viewers could become emotionally involved with each performance. As such, it laid down many foundations upon which later forms of theatre like Western drama have drawn inspiration from over time. Influence of Greek Theater on Modern Theater The influence of Greek theater on modern theater is vast and far-reaching. Its impact can be seen in almost every aspect of theatrical production, from the structure of a play to the use of props. To illustrate, consider the case study of Shakespeare’s Othello. Written over 400 years ago, this tragedy contains elements that are distinctly rooted in ancient Greek theater: from its five-act structure to its focus on issues such as justice and revenge. To fully appreciate how much Greek theater has influenced modern productions, one must look at some of the key characteristics it introduced: - Masks: Ancient actors wore masks when performing which allowed them to portray different characters. This tradition has been adopted by many modern theaters who also make use of masks for their performances. - Music & Dance: Ancient Greek plays often included singing and dancing which were used to emphasize certain aspects or themes within the play. In contemporary productions music and dance are still commonly used as a powerful storytelling tool. - Chorus: The chorus was an essential part of ancient performance as they provided commentary throughout the play and acted out scenes alongside the main characters. Today’s audiences may recognize this element in musicals where large groups sing together or provide additional context or background information about the story being told onstage. These features have undoubtedly had a lasting effect on today’s stage productions—from small community theatres to Broadway shows—as demonstrated through works like Othello, proving just how influential and enduring Greek theatre is even centuries later. As we move forward into exploring its legacy, it is clear that without these foundational pieces there would be no way for us tell stories with so much depth and emotion today. Legacy of Greek Theater Since ancient times, Greek theater has had a lasting impact on the development of modern theater. This influence can be seen from various aspects, such as structure and production techniques. As an example, British playwright William Shakespeare’s plays often feature cast members who specialize in playing certain characters, which is a concept that originated with the practice of mask-wearing in Ancient Greece. Additionally, he also adapted many ideas and stories from classic Greek tragedies into his works. Moreover, traditional methods of staging have been preserved through to contemporary productions. For instance, most theaters still keep orchestra pits and sunken stages that were first introduced by the Greeks thousands of years ago. The legacy left behind by Greek theater goes beyond its theatrical elements and extends to other areas related to art and culture. Here are some key effects it has had: - It provided inspiration for later generations of artists; - Its themes remain relevant today; - It has helped shape our understanding of human nature. In particular, the core idea behind tragedy – namely that life can never turn out perfectly – resonates strongly with people living in all sorts of contexts throughout history and across different cultures. While some may argue that this theme is too dark or depressing for modern audiences, many recognize its importance in addressing topics such as loss and suffering. In fact, when used skillfully by directors or actors it can elicit strong emotional responses from viewers even today. Greek Theater continues to inspire new interpretations as well as adaptations of existing classics both onstage and offstage. From classic operas based on Homer’s epic poems to Hollywood blockbusters drawing upon classical mythology – these works would not be possible without the original foundations laid down by their predecessors long ago in Ancient Greece. Even though we live far away from those days now, they continue to provide us with stories full of lessons about life itself that will endure forevermore no matter what time period or culture one finds themselves within. What was the purpose of Greek theater? Greek theater was an important part of Ancient Greek culture, having been around since the time of Aristophanes in the fifth century BCE. Its purpose varied depending on its context and who was performing, but it generally served to entertain audiences and provide a platform for political expression. One example is Aeschylus’ Oresteia trilogy which told the story of Agamemnon’s return from Troy and his eventual murder at the hands of Clytemnestra. It not only provided narrative entertainment but also reflected upon themes such as justice, revenge, loyalty and faithfulness to one’s family. In addition, it allowed Athenian citizens to reflect upon their own society, making them think about how they interacted with each other and what kind of societal values should be upheld. The purpose of Greek theater can be summarized into three key points: - To entertain – providing comedic relief or tragedy through narratives * To provoke thought – allowing audience members to contemplate philosophical ideas or consider contemporary issues - To express opinions – giving performers a platform to speak out against injustice or make statements about current affairs. It could also have religious significance as some festivals were dedicated to specific gods or goddesses; these performances often included sacrificial offerings that would be given before shows began. Furthermore, many actors believed that being chosen by Dionysus himself granted them special abilities when reciting lines. This meant performances had symbolic meaning for those taking part and watching alike. In short, Greek theater has long played an integral role in both ancient and modern societies due to its capacity to bring people together through shared experiences while simultaneously offering a platform for meaningful discourse and reflection. Who were some of the most famous playwrights associated with Greek theater? The history of Greek theater is long and varied, with many famous playwrights associated with the art form. Aeschylus, Sophocles, Euripides, and Aristophanes are some of the most renowned writers from Ancient Greece. For example, Aeschylus was a prolific writer who wrote over ninety plays in his lifetime. He is credited for introducing elements such as dialogue between characters and tragedy into drama. His works often focus on themes such as justice, morality, fate, and power struggles. Sophocles is another notable figure in Greek Theater known for writing tragedies that explore complex moral issues. Plays like Oedipus Rex highlight the consequences of rash decisions made by powerful individuals. Through this work he showed how hubris can lead to disastrous outcomes even when intentions were good. Euripides wrote around eighty plays during his career which often highlighted female protagonists or challenged traditional gender roles in society at the time. His best-known works include The Trojan Women which dealt with themes of war and suffering while also emphasizing the importance of compassion above all else. Finally there’s Aristophanes whose comedies focused on social satire but still managed to offer thoughtful critiques about ethical dilemmas faced by everyday people living under oppressive regimes. These playwrights have left an indelible mark on Western culture through their contributions to literature and theater: - They explored timeless topics such as morality, justice, power dynamics, and human nature; - They created multifaceted characters dealing with difficult situations that evoke emotional responses from audiences; - Their works remain relevant today due to its exploration of human behavior within societies both ancient and modern alike. As these playwrights demonstrate, Greek theater has had a lasting impact not just on entertainment but also on our understanding of humanity itself–from exploring timeless questions about life’s purpose to offering insightful critiques on current societal issues. What roles did chorus and music play in Greek theater performances? Chorus and music played a major role in the performances of ancient Greek theater. For example, during the 5th century BCE, Aeschylus’ plays featured choral songs that were sung by 50 men dressed as satyrs. The chorus was used to provide information about past events that had not been seen on stage, comment on action taking place, or even move the plot forward. In addition to its narrative purpose, they also served as a way for audiences to emotionally connect with the play’s characters and themes. The chorus was usually composed of 3-50 members who sang and danced together while wearing elaborate costumes and masks. They often wore long robes called himatia which could be brightly colored and elaborately decorated with embroidery or gold threading. Musicians would accompany their singing with instruments such as lyres, double flutes, drums, crotales (cymbals), and castanets. These musical accompaniments created atmosphere and emphasized particular moments within scenes. In some productions, actors may have performed solos accompanied by an orchestra made up of professional musicians playing stringed instruments like citharas or horns like buccinae. Music was also used throughout different parts of the performance for ritualistic purposes such as honoring gods at festivals or providing entertainment for spectators between acts. Additionally, instrumental interludes were sometimes inserted into tragedies when there was a need for dramatic tension to be heightened before an important scene took place. Due to its integral part in these theatrical works from antiquity, it is clear that chorus and music played an essential role in Greek theater performances both functionally and aesthetically. Not only did it help audiences better understand story elements but it also provided them with emotional connections to characters’ stories through its rhythmical beauty; further emphasizing why it has remained so influential over time: - It enriched dialogue by adding depth and emotion - It allowed viewers to empathize with characters - It helped convey complex ideas more simply It can thus be said that without this powerful combination of song and dance accompanying plays written by renowned authors such as Euripides or Sophocles – classic Greek theater would not be nearly as captivating nor memorable as we know it today! How has the style of acting in Greek theater evolved over time? The style of acting in Greek theater has evolved significantly over time. To illustrate this, consider a hypothetical performance from ancient Greece compared to one today: the first may have been more focused on costumes and masks, while modern performances focus primarily on the actors’ movements and gestures. To better understand how the style of acting in Greek theater has changed over time, it is important to consider several key elements: - The use of improvisation – Ancient Greek performances typically used very limited dialogue or no dialogue at all; modern plays rely heavily on improvisation and carefully crafted scripts that provide direction for the performers. - Costumes and props – While ancient performances often relied heavily on elaborate costumes and props, modern theaters are generally less dependent upon these items to portray a character or plot line. - Choreography – Ancient Greek theater was largely static with little movement between characters; however, choreography has become an integral part of many contemporary productions. These three elements demonstrate just how much the style of acting in Greek theater has changed since its inception. Whereas ancient performances were mostly static presentations relying on symbolism through costume, music, and chorus parts, modern-day performances emphasize physicality and stage presence through improvisational techniques such as blocking and choreography. Additionally, advances in technology have allowed for creative lighting effects which further contribute to the overall experience of attending a live theatrical production. As evidenced by these examples, the evolution of style in Greek theater can be seen as a journey from symbolic representation to physical exploration – allowing audiences around the world to explore new depths within classic works of art. Through careful study of both past and present trends in theatre styles, researchers can gain insight into not only what makes classical Greek drama so powerful but also how it continues to evolve even now. How did audience members interact with actors during a performance? Audience interaction with actors is an integral part of Greek theater. For example, during the performance of Sophocles’ play Oedipus Rex in 429 BCE, audience members were actively engaged with the actor-singers on stage, expressing approval and disagreement through their reactions. The style of audience participation has evolved over time as well. In ancient Greece, audiences could physically interact with performers by throwing objects onto the stage or shouting out opinions about what was happening on stage. This often created a more lively atmosphere for both actors and spectators alike. The audience also had the power to influence how the story progressed – if they didn’t like a particular character’s actions or decisions, they would show it vocally. In modern times, audience interactions are much less physical but still important nonetheless. Audiences nowadays demonstrate their emotions towards performers through applause and cheering at appropriate moments in the production. They may also provide feedback after performances by leaving reviews or rating systems online or engaging in conversations around social media platforms such as Facebook and Twitter. - Ancient Greeks could throw objects onto stages during performances - Audience members vocalized approval/disapproval of characters’ actions - Modern day viewers use applause & ratings/reviews to give feedback to actors Nowadays, audiences respond differently than those from antiquity; yet their role continues to remain vital to theatre productions — whether it be providing emotional cues for performers on stage or offering constructive criticism afterwards. It is this connection between performer and viewer that makes live theater so special and unique – something which can never quite be replicated through any other medium of entertainment

<urn:uuid:0dbb673b-e0e6-4ffd-a118-0996c7e9227d>

CC-MAIN-2023-40

https://mandalatribal.com/the-history-of-greek-theater/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506528.19/warc/CC-MAIN-20230923162848-20230923192848-00670.warc.gz

en

Planetary system formation: exposing naturalistic storytelling Attempts to explain how stars form naturalistically have encountered significant challenges because the known laws of physics indicate it is virtually impossible.1 There is a remote possibility for star formation via the mechanism of a nearby supernova, but dark matter is generally invoked as the ‘unknown god’, a ‘god of the gaps’ to make it work, because such events are extremely unlikely.2 Without this ‘unknown god’ in their uncreated universe, the formation of the star at the centre of a planetary nebula is essentially impossible. It also follows that planet formation has a similar problem. How do planets form in a nebula of gas and dust, which according to the known laws of physics cannot condense a star at its centre? More importantly, how do you get a solar system with planets in habitable zones? Radiation from the newly born star would drive out any excess gas and dust from the path of the planets via photo-evaporation and stellar winds, making the formation of planets very unlikely. The planets allegedly condense via the core accretion model resulting in (in some cases) a habitable planet in the habitable zone, at the right distance from the parent star where water can exist in its liquid state.3 Then water is assumed to condense on the surface of that new planet—but by what mechanism? Ultimately this is a question about life elsewhere in the universe. But I digress. By product of star formation Standard astrophysical dogma is that planets form around stars as a natural by-product of the star formation process.4 But there are several problems. For the initial molecular cloud to collapse, and eventually form a star, the cloud must eliminate any magnetic fields (due to unpaired charges) that oppose the collapse. The alleged process, which removes any magnetic field induced pressure from molecular clouds, entails the ions that carry the magnetic fields slowly diffusing out of the cloud, taking the magnetic fields with them.4 But these same magnetic fields are invoked to shuttle the angular momentum from the newly forming star, at the centre of the cloud, outward into the disk region of the solar nebula, to overcome another unsolved problem. This is the angular momentum problem, where the putative central star should have 99% of the angular momentum of the collapsing cloud, but in real observed solar systems like our own, 99% of the angular momentum resides in the planets, hence in the disk of material around the central star. Their suggested naturalistic solution to this problem is just-so storytelling. See below. Then there is the problem of the Jeans mass limitation. The Jeans mass1 is the lower limit on the mass of a cloud, of a certain temperature and density, that will lead to gravitational collapse, against thermodynamic pressure (the tendency of hot gas to expand, not contract) alone—that is, if we only consider the temperature of the cloud, which is a consequence of the cloud pressure due to its self-gravity. These two parameters, temperature and density, naturally reach an equilibrium condition in what is called a virialised cloud,5 where the gravitational energy balances the internal kinetic energy, and the cloud is gravitationally stable. I quote here from some stellar evolution lecture notes (available online): “These gas clouds are in a state of equilibrium so that they are not prone to spontaneously collapse on their own to form into stars. The internal gas pressure and self-gravity are balanced to maintain them as stable clouds. But of course these clouds have to become stars, so something must push them over the limit where the self-gravity will overcome the gas pressure.”6 (emphases added) Such is the faith of the evolutionary astrophysicists! Without the Creator they must live in hope that they can find a solution to a seemingly intractable problem. I have previously discussed what is used to overcome this in star formation,1 but what about planet formation? Astronomical observations of molecular hydrogen clouds, which it is said will eventually collapse to form stars, are considered to be dense enough to overcome the limit imposed by the Jeans mass criterion, but this does not explain how those clouds got into that state in the first place. Possibly the clouds were compressed past the Jeans limit by shock waves generated from nearby supernovae? But cloud cores with observed densities high enough that they can collapse directly to produce Jupiter masses, i.e. planet-size objects, are not observed.4 To overcome the limit imposed by the Jeans mass criterion (hence the known laws of physics), the workaround is to “assume that the Jeans criterion is satisfied and the cloud is unstable to gravitational collapse”.4 Alternatively they invoke hypothetical dark matter, which has conveniently anomalous properties, such that it is not subject to normal thermodynamics and hence provides gravitational force, tending to collapse the cloud, yet no thermal energy to support the cloud against gravitational collapse.1 Thus the thermal limit is overcome and the cloud contracts. The process continues with different regions fragmenting within the cloud, satisfying the Jeans criterion, and resulting in various regions collapsing individually, thus forming many smaller objects within the larger original cloud. This is a process called fragmentation. As these smaller regions gravitationally collapse, according to the theory, they are alleged to radiate away, at infrared wavelengths, the excess energy from their cores, thus keeping them cool. Normally you would expect that compressing a gas causes heating, as happens in a refrigerator compressor. But it is assumed that this cooling process continues until it can no longer be sustained. By that time the gravitational force is so strong that the thermal support due to the increased pressure no longer prevents collapse. Once the temperature rises high enough, molecular hydrogen dissociates into atoms and a ‘protostar is born’. Well, that’s how the story goes. Models of planet formation There are two competing naturalistic models on planetary formation:3 one a ‘top-down’ approach and the other a ‘bottom-up’ approach. The ‘top-down’ model employs a gravitational instability similar to the idea used in star formation, where, according to the theory, planets form in accretion disks. This allegedly comes about because of a higher density of material in some regions of the disks where self-collapse under gravity occurs. Once collapse occurs, the protoplanet then attracts more material onto the newly developing planet. But this idea has its problems. “ … it appears that the solar nebula’s lifetime would not have been sufficient to allow objects like Uranus and Neptune to grow quickly enough to attain the masses we observe before the nebula was depleted. The mechanism also does not explain the large number of other, smaller objects that are present in our Solar System and are likely to exist in other planetary systems as well. … the gravitational instability mechanism doesn’t appear to readily account for the mass distribution of extrasolar planets, the correlation between planetary system formation and metallicity, or the wide range in densities and core sizes of planets, both within the Solar System and among the extrasolar planets.”7 The ‘bottom-up’ model asserts that planets grow through a process of accretion of smaller building blocks. By observing other planetary systems astronomers are led to favour this model, but no single robust model has yet been established. The scenario is typically started with expanding nebulae from supernova explosions where the expansion causes the gases to cool. Out of the remnants of these exploding stars, elements such as aluminium, titanium, and calcium get scattered through space. When a supernova remnant meets a cooler portion of a fragmented gas cloud, which has not collapsed, the remnant may break up into ‘fingers’, or, the smaller fragmented gas cloud may be compressed by the shock wave from a nearby supernova. The result is enrichment of a solar nebula with elements synthesized in the very high temperatures of the supernovae. These elements are necessary to form the rocky inner solar system planets, like Mercury, Venus, Earth, and Mars. The accretion model posits that grains with icy mantles collide and stick together, which allegedly leads to larger and larger particles, which also collide and stick together, until they are large enough to have a gravitational influence on other particles. Then ‘planetesimals’ are formed, which also grow by low energy collisions, and so on. It is storytelling, based on the observed fact that planets do exist around their central stars. There is the problem of the above-mentioned radiation pressure from a newly forming central star that tends to clear out dust grains from the planetary system. But supposedly the same star aids planet formation by cooling the protoplanetary disk material so that planetesimals can condense through the accretion process from the inward spiralling small dust grains. Simulations have been performed in an attempt to understand how the dust settles out of a spherical halo with random orbits into a flattened disk in the equatorial plane of the central star. “The rate of dust settling is proportional to the grain radius. It would take a 1 µ m grain about 107 yrs to settle to the mid-plane, which is very slow. In fact it is too slow to form planets before the disk disperses. So other processes must be at work.”4 (emphasis added) Laboratory research, for example, on dust grains sticking to each other,8 and simulations on growth of grains in space,9 are ongoing to try to understand how small grains grow into large grains, because without a mechanism(s) there can be no planet formation. Growth via collisions has problems. For example, as the grain size increases so does the mean collision velocity, which is likely to stall the growth process or actually reverse it, as grains bounce off one another and also break one another into smaller sizes. So, some other mechanism needs to be found. Furthermore, simulations show that once the putative grain size has reached about 1 metre at a distance of 1 a.u.10 from the protostar the grains will spiral into the protostar in only 100 years. This is known as the ‘metre-sized barrier’ to planetesimal formation. However, the latter is proposed as the mechanism that clears out the dusty lanes (orbits) for the planetesimals as seen in Fig. 1. According to the story, these problems can be overcome by either an anomalous jump in density due to a maximum pressure increase at a certain distance from the protostar, or turbulence in the disk regions causing millimetre-sized grains to clump together. Just how either of these could come about is not known. They are introduced a priori, whereby it is assumed that such features exist in real physical systems: “While the mechanism is not yet fully understood, the grains will eventually become kilometre-sized planetesimals.”4 More hopeful storytelling. According to this story, from their mutual collisions the planetesimals grow as they orbit their protostar. Once they get large enough gravitation takes over and accretion occurs very quickly resulting in embryonic planets—protoplanets. The formation timescale for the protoplanets is said to be a few hundred thousand to about ten million years. The story continues with the belief that the protoplanets continue to grow slowly via gravitational collisions, clearing out the remaining solids in the planetary disk. And in the case of our solar system, it was finished after about 10 to 100 million years. Conservation of angular momentum As the solar nebula cloud ‘spins up’ to conserve angular momentum, this allegedly produces a ‘protostar’ at the centre of the cloud and a flattened disk of gas and dust in orbit around it. See Fig. 2. It is assumed that the disk formed more rapidly than the star and thus most of the mass of the central star is channelled through the disk. This idea has a fine-tuning problem. It needs a process that ends up with 99.9% of the total mass of the system in the central star and only 0.1% in the disk, even though most of the matter was initially located in the disk. “During the gravitational collapse of a molecular cloud core, the gas must contract by a factor of about 106 in size to form a star. Due to conservation of angular momentum, the initial cloud rotation is enormously magnified, which results in the small central protostar being surrounding [sic] by a large rotating disk. It is in these disks that planets form.” (Emphasis in the original)4 As the cloud collapses, due to the conservation of angular momentum, the cloud must spin faster. This creates strong centrifugal forces, which are greatest at the equator. The theory then supposes that this causes the rotating contracting cloud to spread out in the equatorial plane to form a disk as shown in Fig. 2. Consider our sun with a mass representing 99.86% of the mass of the solar system but only 1% of its angular momentum.7 The planets on the other hand have a total combined mass of only 0.14% of the mass of the solar system yet 99% of its angular momentum (mostly in Jupiter). Most of the angular momentum of any solar system must reside initially in the central core of the collapsing cloud, which eventually becomes the star, according to the theory. Basic physics tells us that the collapsing star must ‘spin up’ and hence contain most of the angular momentum of the system. Yet, after some time nearly all the angular momentum is allegedly transferred to the planets somehow. This is a huge problem for the evolutionary theory. Various mechanisms have been proposed to try to overcome the problem, which include viscous, gravitational, and magnetic torques. But all these suggestions are really just clutching at straws. The proposed torques are alleged to have the effect of pushing outer matter in the disk farther out, while causing inner matter to fall towards the protostar. The desired mechanism is one that results in an effect like the one that earth’s gravitational coupling to the moon produces, causing the moon’s period to increase as it moves outwards from the earth. While thermal motions and convection in the nebular disk is not considered an option, magneto-hydrodynamic turbulence has been proposed, which is believed to be more promising to create the needed torque. Local and global gravitational instabilities have also been suggested, which are believed to lead to the formation of spiral density waves in massive disks. These are alleged to be very efficient at redistributing angular momentum (and material) through the disk until quasi-equilibrium is reached. Lastly, magnetic breaking torques, have been considered, which are believed to form if magnetic field lines from the protostar thread the disk. As a result, angular momentum is transferred outwards from the protostar into the disk. But, as already stated, magnetic fields are a serious problem for the formation of the central star in the first place. In fact, all of the proposed mechanisms are only proposed because of a prior commitment to materialism. “We observe exoplanets around stars so there must be a mechanism.” But it is just more storytelling. See also “Giant molecular clouds”.11 Simulations and confirmation bias How can these ideas be tested? One way is with computer simulations and another is to look for protostar systems at various stages of their evolution. But how robust is that? No simulation actually starts with just a gas cloud, but rather with either dark matter or a very dense already-collapsing gas cloud.9 In other words, the simulations assume the necessary initial conditions that will allow the simulation to produce a collapsing cloud. If they didn’t do that the simulations would not result in any stars or planets. Looking for stars or protostars at various stages of their supposed evolution is subject to confirmation bias—where the astronomer looks for that which he already believes to be true. Instead, God may have created a great variety of stars. Their solar systems may appear to be at what a cosmic evolutionist might label as different stages of evolution, but in fact none has actually evolved to get to that stage. I have suggested that looking at other star systems may give us a clue to the nature of the formation of our own solar system,12 when created by God. But this also has a similar type of bias, but a bias towards the Creator, who created other forms of planetary systems throughout the Galaxy, a few observed with dust clouds around them.13 Are we seeing any planetary systems in formation today?3 I think it is yet too early to say. But does the naturalistic model have any substantive basis to claim an understanding of planet formation using only known physics? Definitely not, especially when dark matter and unlikely supernovae events have to be invoked. Though astronomers seemed to have settled on one model—the accretion model—it has many unsolved—even insurmountable—problems. The whole commentary on naturalistic planetary formation is just storytelling. There are many stages where there are big gaps involving unknown processes. The gaps are glossed over with expressions of hope for a future breakthrough, yet significant problems remain. Really, the storytelling is an attempt to bypass the Creator in His role and insert evolution’s ‘unknown god’. According to the biblical model there is no reason to expect that the Creator did not create many different forms of planetary systems, which might be incorrectly labelled by evolutionists as being at various ‘evolutionary stages’ of formation.14 I accept that God made extrasolar planetary systems on Day 4 of Creation Week about 6,000 years ago. References and notes - Hartnett, J.G., Stars just don’t form naturally—‘dark matter’ the ‘god of the gaps’ is needed, September 2015; creation.com/god-of-the-gaps. Return to text - Hartnett, J.G., Is ‘Dark Matter’ the ‘unknown god’?, Creation 37(2):22–24, 2015; Return to text - Hartnett, J.G., A protoplanetary system in formation?, September 2015; biblescienceforum.com. Return to text - HET620-M09A01: Planet Formation: Disk Formation and Evolution, Swinburne University of Technology, 2011; astronomy.swin.edu.au. Return to text - The eventual formation of a dynamic equilibrium in the cloud with the loss of any substructure. Return to text - Stellar Evolution–Details, page Notes 5–1, uni.edu/morgans/stars/notes5.pdf. Return to text - Carroll, B.W. and Ostlie, D.A., An Introduction to Modern Astrophysics, 2nd Ed., Pearson, Addison Wesley, pp. 862–863, 2007. Return to text - Superglue of planet formation: Sticky ice, Spaceflight Now, Pacific Northwest National Laboratory News Release, March 2005; spaceflightnow.com. Return to text - See movies listed here: www.astro.lu.se/~anders/research.php. Return to text - 1 a.u. = 1 astronomical unit = the earth-sun distance of 150 million km. Return to text - Hartnett, J.G., Giant molecular clouds, 2016; creation.com. Return to text - Hartnett, J.G., The ‘waters above’, J. Creation 20(1):93–98, April 2006; creation.com/waters-above. Return to text - Very few extrasolar planetary systems have been observed with the needed detail necessary to see a disk of planets and/or dust and debris. See Ref. 3. Return to text - This is the same way evolutionary palaeontologists sort the fossil record into representing successive long ages of deep time where evolution of one kind of organism to another allegedly occurred. Return to text

<urn:uuid:1f8a67b3-d9af-4691-beeb-c1916afa68b1>

CC-MAIN-2023-40

https://creation.com/the-naturalistic-story-about-planet-formation

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510781.66/warc/CC-MAIN-20231001041719-20231001071719-00069.warc.gz

en

In this lesson plan designed for the British Council Teaching English site, we explore the topic of creativity and innovation. This lesson was devised to mark World Creativity and Innovation Day on 21st April. However, it could be used at any time of year as this is not specifically mentioned. The lesson begins by looking at what is involved in being creative, trying to expand this beyond the usual areas of art or creative writing. The students then do a reading activity where they match the headings to each section. They then identify the synonyms which will have enabled them to do this task and focus on the idea of avoiding repetition. They read the text again and discuss which ideas they personally find most useful. The lesson finishes with a creativity task, followed up by a final discussion. Encourage students to think about their own creativity and how they could develop it further Expand students’ vocabulary and ability to avoid repetition using a range of synonyms Provide reading and speaking practice around the topic of creativity and innovation Teenage learners at CEF level B2 The lesson plan and student worksheets can be downloaded here Speaking in English is something that many students find stressful or anxiety provoking. They can fear making mistakes, failing to understand the person they’re speaking too, or simply drying up. So shouldn’t we try to make speaking activities as stress free as possible? There are certainly benefits to making sure students are well prepared, that they have the necessary language, that they have a clear idea of what the task demands. However, there are also some good arguments for not trying to remove all stress, and even adding some pressure at times A couple of weeks ago I received a comment on the blog from a teacher who asked me to write a post about speaking skills. This is what she said: ‘The other day I was asked to observe some students doing a short peer teaching session. They were supposed to “teach a speaking skill”. Each group decided to do a group discussion activity. When I asked them what speaking skill they had tried to focus on, they were really puzzled; in fact, they had no idea what I was getting at. They said their aim was ‘fluency’. But to me it’s a very generic skill. How do you teach ‘fluency’? What is ‘fluency”, anyway? I assume it’s a culmination of numerous sub-skills. So, what could these micro-skills be?’’ I realised that she was absolutely right. In the same way that we often try to develop listening skills by practising listening, developing speaking skills is often just seen as giving students an opportunity to speak. Practice is important of course, but, as the teacher asked, what are the microskills involved in speaking? First of all, we need to identify what exactly we mean by speaking. Brown and Yule (1983) distinguish between primarily interactional (conversation) and primarily transactional (transmitting information) functions of speaking. Jack Richards has added a third broad function- talk as performance- which would include such things as presentations and speeches. Each of these three types of speaking could be more or less formal, depending on the context of the talk, who is taking part in the talk and the power relations between them. So, when teaching speaking, one of the key things that we need to do is to identify what kind of speech we are hoping students will produce, how formal it is likely to be and what kind of exponents* it might be useful to teach them. Coursebooks often have ‘Useful Language/Phrases’ boxes with sets of functional exponents for students to use in a speaking task. Teaching these sets of phrases is helpful in developing fluency because as we start to use these chunks of language automatically we are able to use them as what Scott Thornbury describes as ‘islands of reliability’. We can skip from one automatized phrase to the next, filling in the gaps with our own ideas and language. Depending on the needs of your students there are literally dozens of different functions that you could focus on. More interactional functions might include expressing likes and dislikes, comparing, agreeing and disagreeing, giving your opinion, expressing surprise. More transactional functions might include asking for directions, ordering food in a restaurant or checking into a hotel. Performance related functions could include summarising what you are going to say, or what you have said, moving onto the next section of your talk, giving an example to support your argument etc. I would argue that teaching these chunks is very much part of teaching the speaking skill. However, we should also be looking at teaching communication skills, which may or may not involve using relatively fixed chunks of language. For example, to have a conversation with one or more other people students will need to be able to: Decide whether they need to use more casual or more formal language. Be able to join in the conversation, which may include interrupting without seeming rude. We can teach interrupting phrases, but we also need to teach them how to use them appropriately and with the right intonation. Be able to back-channel- nodding, making supportive noises and also using short words such as Really? or question tags, e.g. Did you? Check that they have been understood, using such phrases as ‘Do you see what I mean?’ ‘Do you follow me?’ Rephrase if they haven’t been understood. Check they understand. E.g. ‘I’m not quite sure if I understood that correctly. Did you mean…?’ Change the topic politely and at the right moment. Take a balanced role in the conversation- not hogging, and not saying too little. Use politeness strategies appropriately, such as hedging (see post here), being indirect, apologising and so on. Students will not necessarily be able to transfer these strategies from their first language, partly because the rules of engagement may be different, and partly because they are too occupied with speaking accurately, or with making a good point. Therefore we need to focus explicitly on them, and they are, in my opinion, also a key part of teaching the speaking skill. To summarise, I don’t think we can ever say that we are ‘teaching fluency’. Instead we need to drill down a bit more and ask ourselves the following questions: What kind of speaking are we teaching? What are the learners trying to achieve? (build a relationship, get a nice meal?) What are some useful phrases for this kind of speaking? What degree of formality is likely to be appropriate? What impact will intonation have and what kind of intonation might be appropriate? How will the students be interacting with each other and what might they need to know, do or say to make the communication work smoothly? *An exponent is a piece of language used to perform a language function. For example: Give me the salt Pass me the salt, please. Could you pass me the salt, please? I wonder if you could possibly pass the salt? All these exponents have the same function- getting someone to pass the salt- but they obviously vary in terms of formality and when you could use them without causing offence. Intonation would also play an important role. Designed to raise awareness of the UN’s World Day against Trafficking in Persons, this lesson begins by asking students to consider what they know about the issue, then takes them through a process of learning more before concluding by asking them about what they have learnt, and how their understanding might have changed. The lesson involves plenty of speaking, a vocabulary focus, which pre-teaches topic related vocabulary later found in the text, a jigsaw reading and a focus on passives. Unsung Heroes [click on the lesson title for lesson plan and materials] This lesson, devised for International Women’s Day, will help to raise awareness of some not very famous, but nonetheless important, women. The lesson begins by asking students to think of well-known people that they consider to be heroes. It is likely that many of these will be men, so the students then go on to learn about 5 remarkable women in a jigsaw reading activity. The students discuss these women’s achievements, and learn some useful vocabulary for talking about social issues. There is then a focus on relative clauses, before the final task of writing about another female hero, using the vocabulary and relative clauses where appropriate. For a 50-60 minute class the writing stage could be done at home. This lesson for adults and teenagers at a minimum A2 level is designed to develop fluency skills. Students are led through a series of activities to create profiles for imaginary characters who live in the same neighbourhood. The lesson then brings these characters together at a neighbourhood party, where students can practice asking and answering simple questions about work, family, hobbies and so on. As well as developing spoken fluency, there are opportunities to expand vocabulary (personality adjectives) and some useful questions for making small talk. For many of us it’s that time of year again when we are about to start new classes. Learning a foreign language can be stressful, so we want our students to feel at ease with each other, and with us. But how to break the ice? As a follow up to a previous post, Breaking the Ice, I’ve collected together even more ideas. Activitiesfor students to find out more about each other As I mentioned in my previous post, it is important to be sensitive about these kinds of activities, because with a new class, some students may not want to share too much. One way round this is to always let them select what topics they are happy to talk about. Perhaps the best known ice breaker in ELT is Find Someone Who (described in my previous blog post). A variation on this, which gives the students more topic control, is to give each student a card and ask them to write 5 facts about themselves that they think others in the class will probably not know. For example, my Grandfather was born in Estonia, my favourite ice cream flavour is pistachio etc. Divide the class into two teams, and then collect in the cards. Pick a card from Team A, and read out the clues, one by one. Team B try to guess the person in as few clues as possible. Or let students choose the questions they want to answer. Start the activity by getting students to write at least two getting to know you type questions onto post it notes. For example, What is your favourite way to waste time? What are you going to do this weekend? What’s the best/worst thing about your job/school? Put all the post it notes onto the board, and let students come up and select one they would like to answer. They then stick the post it note to themselves and mingle asking and answering. Answering the same question more than once is likely to encourage fuller and more fluent answers each time, but whenever they are tired of answering the same question they can come back and choose a different question, or even write their own if nothing appeals. Or let students find out about you instead. There are some ideas in the previous post, here, but you can also just give them, say, ten minutes, to ask anything they want to (you don’t have to answer). When the ten minutes is up, they have to write down what they found out. This gives you a good idea of how strong their listening and writing skills are. Activities to just have fun I would probably avoid anything too individually competitive with a new class, to avoid potential embarrassment, but co-operative activities can work extremely well to start the bonding process. A simple activity is to give each student a piece of a jigsaw as they come into the room (you can easily make your own simple jigsaw with an image stuck onto card). Once they are seated, explain that they need to work together to complete the jigsaw. There are just two rules- all discussion must be in English, and only the person holding each piece can put it in the jigsaw. Once they have finished, you can then do something with the completed image- perhaps they write a description of the scene, or roleplay a discussion between two characters in the image. Another fun activity is to put students into groups of about four and give each group the same newspaper (free newspapers from public transport are good for this). Then ask the students to find and give you different bits of the newspaper, which you have previously selected. For example, an advert for shampoo, an article about a new shopping centre. They should take in in turns to find the section (with help from their team-mates) and then rip it out and bring it to you. (Make sure that nothing you ask for is printed on the back of something else you listed). A link to my latest British Council blog, with one of my favourite speaking activities. It’s a favourite because a) it’s really flexible and can be done with any level and at any stage of the course (though it works particularly well for a first lesson or a cover lesson), b) it takes very little or even no preparation if you’re good at thinking on your feet, and c) students always enjoy it. A free downloadable lesson, about a new online service, CrowdWish, which invites people to post their wishes on their website. Every day people vote on the most popular wish, and CrowdWish will grant it! Students start by discussing some wishes taken from the site, then read a short text about what the site aims to do (so don’t tell them at the start of the lesson!) There is then a focus on some useful idioms, before going on to watch a video in which the founder of the site, ‘pitches’ his idea. Students then look at the grammar used with ‘wish’, particularly at the use of ‘would’ when you want someone else to change their behaviour. Finally the students come up with their own wishes and vote on them, like on the site. You could even try and grant the top wish if you’re feeling creative.. The lesson would be suitable from B2 upwards, as the video is quite challenging in places. A transcript is provided. A free downloadable lesson, based around a Russian advertising video for shampoo. Despite what is aims to sell, the video is actually quite inspiring, with the story of a girl who succeeds against the odds through pure grit and determination. Students start by watching the video and trying to guess what it is trying to advertise (so don’t tell them!). They then try to reconstruct the story in pairs, watching the video again to check their ideas. The lesson then goes on to focus on a range of linkers used to give reasons or results, make contrasts and show when something happened. Students then work with some vocabulary to describe personality, and then put it all together by writing the story of the video, using the linkers and the vocabulary where appropriate. Finally, there are some quotes about success for them to discuss. Assuming you believe that there is some value in teacher corrections (see my last post), the next question might be when to correct. In my initial teacher training, I was taught that the teacher should correct during stages which focus on accuracy, and not interrupt while students are producing language in a ‘fluency’ stage (though you could note down errors to focus on in a group feedback stage at the end of the lesson). Broadly speaking, I still think that’s good advice, but, as we have moved away from very rigidly PPP lessons, with clear stages which first focus on accuracy/controlled practice and then have a final fluency or free speaking stage, it has become harder to always judge exactly where the focus is at any given moment. And, anyway, is it always a ‘no-no’ to correct during a fluency stage? I don’t pretend to have the definitive answer as to when to correct, but here are some factors I think are worth considering, in no particular order. You might have some more, or vehemently disagree. If so, please do comment. 1 Is it actually an error (something they haven’t yet properly understood or assimilated) or just a slip of the tongue? You might wait and see if it appears again. 2 Is the error quick and easy to correct, or to get the student to correct? If it will require a lot of explanation, maybe the student isn’t ready for it yet, or it might not be worth taking them and the class off topic (though see point 6). 3 Is the error something which the class is currently focusing on? If you have been looking at, say, past simple irregular endings, and the error is one of the verbs you looked at earlier, then correcting (or eliciting correction) might be useful for everyone, even if it’s in a nominally ‘fluency’ stage. 4 Is the error something that really impacts on communication? If no-one can understand what they are trying to say, or they are likely to completely misunderstand, then it probably needs dealing with- either immediately or later. 5 Is the error something that a lot of students habitually make, or are likely to make- will the correction be generally useful for the class? 6 Following on from that point, if a lot of students are making similar mistakes, it might be better not to correct them immediately and, instead, plan a new lesson around the area of difficulty, or, if you’re confident about it, change the direction of the lesson in order to focus on that point. 7 Finally, consider how this particular student is likely to react to being corrected. If they are shy or don’t usually speak out, you might decide to let something go in order not to knock their confidence. In my next post, I’ll look more at how to correct, including who can make the correction and some different techniques for correction. It’s a cliche, but there’s also some truth in this video. As Mark Bartram and Richard Walton point out in their seminal book, Correction, ‘You don’t correct a mistake, you correct a person.’ If teachers always jump on every little mistake, and fail to even vaguely listen to the message that the students are trying to communicate, the emphasis in the classroom will not be on communication at all, but on producing correct forms. And, surely, language is first and foremost about communicating? The students are also likely to stop trying to take risks with language, or produce anything original, and may even stop speaking altogether. The balance of power will be weighted firmly on the side of the teacher, who appears to be the only person ‘in the know’. Perhaps this is why so many ESOL teachers that I observed while tutoring on a Diploma in teaching ESOL were happy/proud to say that they never corrected students. They seemed to feel that there was something inherently authoritarian and negative about correction. Incidentally, I specify ESOL teachers because, probably unsurprisingly, I’ve never found teachers who have been through the CELTA/Cert TESOL route who feel this way. I started to wonder what it was about the way these teachers had been trained which had led to the formation of this belief. In some cases they hadn’t really been trained at all, but had got into teaching through volunteer work. Perhaps, in that case, it was, at least sometimes, a combination of not really knowing the language systems well enough to have the confidence to correct, and the slightly patronising and protective approach to students which can occasionally come as a result of well-intentioned volunteering. [Oops, I can see some angry comments winging their way already- note how tentatively I’ve phrased that point!] Or perhaps it was the teacher training methodology, firmly rooted in the principles of andragogy, with its emphasis on self-direction and learning from experience. However, while adult students (and not just adults) clearly need to be self-directed and learning from their experience, that doesn’t mean, I believe, that the role of the teacher is simply to present them with input or opportunities to speak and then step back. ESOL students in particular, have plenty of daily opportunities to read, speak or listen in English, but what they don’t have is anyone to give them feedback. I remember feeling really frustrated as a learner of Polish, living in Poland, when I finally realised that I had been confidently using the wrong case ending to buy something every day for about three years..and no-one had ever corrected me. Ultimately isn’t feedback (or judicious correction) the most important thing that we can do for our students? In my next post, I plan to take a look at what exactly we might mean by ‘judicious correction’- when and how- but I’d be very interested in any comments on the whole idea of whether we should correct, and if I’m alone in thinking that it’s a particular issue in ESOL teaching? If you are currently taking CELTA, can I suggest my e-book, The CELTA Teaching Compendium, available from Amazon and Smashwords, containing everything you need to know for CELTA teaching practice. Privacy & Cookies Policy Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information. Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.

<urn:uuid:dd62eee2-8daa-4843-81a8-acbc93811beb>

CC-MAIN-2023-40

https://elt-resourceful.com/category/speaking/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510967.73/warc/CC-MAIN-20231002033129-20231002063129-00771.warc.gz

en

To understand the importance of toddler speech development, it is vital to explore the introductory section of "Eight Ways Toddlers Begin Speaking Between 18 and 24 Months." In this section, we will uncover key insights into how toddlers start speaking during this critical period. Importance of toddler speech development The development of speech in toddlers is hugely important for their growth and cognitive abilities. Without good communication skills, children might struggle to express themselves, understand others, or form relationships. As they start speaking, toddlers can express their needs, feelings, and thoughts more clearly. This boosts their confidence and self-esteem, as well as laying the groundwork for language and literacy skills in later life. Research suggests that early speech development also positively affects cognitive development and academic performance. As children learn new words and expand their vocabulary, their knowledge of the world around them grows. This encourages curiosity and critical thinking - essential for future learning. Furthermore, strong speech skills help toddlers to communicate with peers and adults. Good communication helps them to make friends, resolve issues peacefully, and show empathy. Having these social skills sets them up for a lifetime of healthy relationships. To help their toddler's speech development, parents can incorporate certain strategies into their daily routines: - Talking regularly with their child can help language skills. Describing everyday activities or objects around them can stimulate vocabulary growth. - Reading to toddlers is a great way to introduce them to new words and concepts, while stoking a love for books. Interactive books with textures or sound effects can engage them further, and get them involved in storytelling. Lastly, creating a language-rich environment at home by playing games or singing songs promotes language learning. Listening to different accents and languages also broadens their linguistic diversity. By following these tips consistently, parents can support their toddler's speech development. Remember that every child is different; patience and encouragement are key for nurturing this essential aspect of their growth. Factors influencing toddler speech development To understand the factors influencing toddler speech development, delve into the section on biological and environmental factors. Explore how these two sub-sections contribute to the process of toddlers beginning to speak between the ages of 18 and 24 months. Discover the key influences that shape their language development journey. Apart from genetic predisposition, brain development, and overall health are all factors which contribute to a toddler's speech development. The brain changes rapidly during early childhood, allowing for language acquisition and processing. Moreover, the child's overall health - including hearing abilities - can also affect their speech development. Studies have shown that children with certain genetic variations may experience delays in speech and language development. Smith et al. (2018) conducted a study and discovered that toddlers with a specific gene mutation had trouble producing speech sounds correctly. Toddlers are like sponges - they absorb every word they hear! So, if they grow up in a zoo, it wouldn't be a surprise if they start babbling in animal language. Family environment significantly aids in a toddler's speech development. Encourage conversation, storytelling and reading to expose them to a wide range of words. Interacting with peers, caregivers and individuals from different backgrounds is important too. Access to books, educational toys and interactive learning tools has a positive effect. Limit screen time to reduce reliance on passive media content. Noise levels at home or school can affect a child's ability to concentrate on spoken language. Living spaces can influence the ease with which children engage in conversations. The past century has seen increased understanding of how external surroundings impact early language acquisition. This has led to interventions such as literacy-rich environments and language-based training in educational settings. Preparing for 'why' and 'I said so.' Signs of speech readiness in toddlers Toddlers between 18 and 24 months showcase signs of speech readiness. These vary from child to child and help parents and caregivers support their language development. Such signs include: - More and diverse babbling; - Imitating sounds; - Showing comprehension; - Vocalizing needs. It's important to remember that each child may progress differently due to individual development pace and language exposure. Speech readiness includes more than vocalization; toddlers show a desire for communication through eye contact and non-verbal cues. The case of Victor, the "wild boy of Aveyron," serves as a reminder of the importance of early language exposure and social interaction in speech development. Thus, caregivers should foster speech readiness regularly. Eight ways toddlers begin speaking between 18 and 24 months To understand how toddlers begin speaking between 18 and 24 months, explore eight different ways that contribute to their language development. From babbling and cooing to engaging in simple conversations, these sub-sections will shed light on the progression of language skills during this critical stage of early childhood. Way 1: Babbling and cooing Toddlers' language development occurs between 18 and 24 months, and includes babbling and cooing. This exciting process involves vocal exploration, melodic cooing, and repeating syllables. It also consists of imitation, gesturing, and turn-taking. Every child progresses differently. Some may be quicker to move forward while others may require more time. Noam Chomsky has proposed the theory of a "language acquisition device," suggesting that children are born with an innate capability for language learning. Babbling and cooing are vital for unlocking their linguistic potential! Way 2: Imitation of sounds and words Imitating sounds and words is key for toddlers to develop their language skills from 18 to 24 months. Through copying what they hear, they learn how to communicate. Here's a 5-step guide to toddler speech development through imitation: - Observation: Toddlers watch the people around them and pick up the sounds they make. - Repetition: They try to copy the sounds and words they heard. They start with single syllables and words, then progress to sentences. - Pronunciation Practice: Toddlers fine-tune their pronunciation of intonation, rhythm, and cadence. - Contextual Imitation: Toddlers imitate sounds and words depending on the context. For instance, if they hear someone say "hello" when answering a phone, they may do the same with their toy phone. - Role Play: Through pretend play, toddlers imitate conversations they've heard in real life. This helps them practice using words and phrases in the right situations. Not all children progress at the same pace in imitating sounds and words. This may be due to exposure to language at home or individual differences. A parent shared an interesting experience. While cooking, she dropped a pot making a loud noise. Her toddler then exclaimed "uh-oh!" It was remarkable how fast her child picked up on and repeated the sound. This shows how toddlers take part in their environment by imitating, aiding their language development. Way 3: Simple one-word expressions Toddlers between 18 and 24 months start using single words to express themselves. This milestone plays an important role in their language growth. Let's learn more! Examples of one-word expressions used by toddlers include: - Mama - Mother - Dada - Father - Bye-bye - Goodbye - Doggie - Dog - Juice - Juice These single words help toddlers communicate their needs and wishes. As they expand their vocabulary, they will move from one-word expressions to forming more complex sentences. Parents and carers should encourage this progression. Talk to them, and build on their single words. Don't miss out on these precious moments! Each stage of language development is special - let's treasure it while they learn to communicate. Way 4: Understanding and following simple instructions Understanding and following simple instructions is a crucial milestone in a toddler's language development journey. Let's explore how they acquire this skill effortlessly! - Toddlers imitate actions: They watch and imitate their caregivers or loved ones. It could be as simple as clapping hands or waving goodbye. - Repetition is key: Toddlers need to repeat instructions multiple times to remember them. This helps them understand the meaning. - Visual cues aid comprehension: Pointing at objects and using gestures give toddlers a clearer idea of what is expected. - Simplify: Keep instructions short and sweet. Using one or two keywords makes it easier for toddlers to process information. - Acknowledge success: Positive reinforcement builds their confidence and encourages them to learn more. Mastering this skill showcases their growing ability to comprehend the world around them. Some toddlers rely on visuals, while others prefer verbal prompts. Here's an example: My friend's 20-month-old daughter, Lily, was asked to put her toys away before bedtime. She picked them up one by one and put them in their designated place, without hesitation. Her father was amazed at her understanding and willingness. It's incredible how far they progress in their language development! Understanding and following simple instructions is an essential part of a toddler's growth. As parents and caregivers, we should provide them with opportunities to practice this skill and celebrate their achievements. Way 5: Recognizing and naming objects Parents, recognize and rejoice! Your toddlers are on the way to becoming tiny linguists. Object recognition is a key milestone in language development; by understanding this process, you can support your child's growth effectively. Here are some tips to help: - Introduce simple objects and label them consistently. - Encourage your child to repeat the names of objects. - Play pointing games and ask them to point at objects when you name them. - Use visual aids such as flashcards or picture books. - Incorporate object names into everyday conversations. Toddlers start vocalizing more often and trying to identify various objects they come across. Fascinatingly, they build their vocabulary by recognizing and naming familiar objects in their environment. So, parents, take heart - your little babbler is soon becoming a tiny linguist! Way 6: Combining words into short phrases Toddlers start to use two-word sentences, expanding their vocabulary and expressing ideas. They also experiment with basic grammatical patterns such as noun+verb and noun+adjective, combining words to create meaningful connections. To support this development, parents and caregivers should have conversations, read aloud, and encourage children to express themselves. Each child develops at their own pace and success should be celebrated. Let me share a story about Lily, a two-year-old. She amazed her family by using phrases like "Big car go fast!" This marked the beginning of her language journey. Moreover, toddlers ask many simple questions, like "Where's my nose?" - as if they lost it! Way 7: Asking simple questions As toddlers grow, they start questioning. It's a great sign of curiosity and interest in the world. Questions help them gather info and learn. This milestone means they understand language and communication better. They know words have different meanings and can use questions to get answers. It's amazing to see them become more curious! Plus, asking questions boosts their vocabulary and language skills. Different words and concepts broaden their understanding. It also helps them express themselves verbally and communicate better. I recall a toddler at a park watching a squirrel climbing a tree. He asked his caregiver, "What's the squirrel doing?" It was sweet to see how his inquisitiveness prompted him to learn from his observations. His simple question showed his developing ability to explore his environment. Way 8: Engaging in simple conversations Toddlers start speaking between 18 and 24 months, and simple conversations are a key part of this! They'll begin with single words like "milk" or "play" and then move on to two-word phrases such as "more juice" or "big dog". They'll also use non-verbal cues like pointing or gestures. To make sure you don't miss this stage, take an active role in the conversation. Respond attentively and give them opportunities to talk. This will help foster their language skills and support their growth. Don't miss out on these precious moments - be engaged with your toddler's language journey! Strategies to encourage toddler speech development To encourage toddler speech development with engaging strategies, use frequent conversations, read books and tell stories, sing nursery rhymes and play word games, and provide a rich language environment. These techniques will support your toddler's language skills and help them begin speaking between 18 and 24 months. Engaging in frequent conversations Caregivers should create a supportive environment where toddlers feel comfortable expressing themselves. Listen to their thoughts and ideas. Validate their feelings. Respond positively to their attempts at communication. Offer clear language models, with correct grammar and enunciation. Help introduce new words and concepts with books or flashcards. Incorporate storytelling to help practice narrative skills. Utilize tech-based resources like educational apps or toys to stimulate conversation and engage through audiovisual elements and interactive scenarios. Engaging in frequent conversations with toddlers plays an important role in their speech development. ASHA states that between 12-24 months old, they typically have a vocab of 50-100 words. Make bedtime stories fun and educational for your toddler! Reading books and storytelling Reading aloud to little ones can introduce them to different words and phrases. This helps broaden their vocabulary and understand concepts. Storytelling sessions allow kids to make connections between events, characters, and emotions, aiding comprehension. It also creates a bond between carers and children. Interactive books with tactile elements or sound buttons can be effective too. They keep toddlers engaged and help them communicate. An example of this is Mark Twain's experience with storytelling. Growing up with avid readers meant he was exposed to literature early on, which helped him become an author. Reading and storytelling provide numerous benefits for toddler speech development. They help expand vocabulary, improve language comprehension skills, and foster bonding. Therefore, regular reading sessions are highly recommended. Singing nursery rhymes and playing word games Nursery rhymes and word games can be great for encouraging toddler speech development. Not only do they entertain toddlers, but they help them learn and practice new words and sounds. Here are some of the benefits: - Singing nursery rhymes introduces kids to melodies, rhythms, and sounds. This expands their vocabulary and improves pronunciation. - Playing word games like "I Spy" or "Simon Says" helps toddlers listen carefully and follow instructions. This enhances their ability to express themselves in words. - Repetitive lines in nursery rhymes help children recognize language patterns. This makes it easier for them to memorize words and improve communication skills. - Word games that name objects or identify colors help toddlers broaden their vocabulary and understand the world. - Nursery rhymes introduce kids to rhyme schemes and syllables. This develops phonological awareness, which helps prepare them to read. - Singing nursery rhymes stimulates parent/caregiver and child interaction. This creates a nurturing environment where toddlers feel free to express themselves. These strategies make language learning enjoyable for everyone. Through interactive play, kids are more likely to engage with the language they are exposed to. Every child develops at their own pace. Some may start speaking earlier than others. It is important to provide a supportive environment with no pressure or judgement. HISTORY: Singing nursery rhymes has been a long-time tradition in many cultures. These rhymes have proven to be effective in aiding language development - making them an excellent tool for promoting speech skills in toddlers. So prepare for more conversations on Paw Patrol than you ever thought possible! Providing a rich language environment Rich language environments are key for toddler speech growth! Providing a nurturing atmosphere for kids to effortlessly learn and practice language is essential. Here are some helpful tips to make it happen: - Chat away: Talk to your tot with simple words and sentences. Urge them to answer and express themselves. - Read together: Get age-appropriate books with bright pictures to stimulate their curiosity and widen their vocabulary. - Sing songs and rhymes: Music attracts their attention and boosts their listening skills while introducing new words and tunes. - Provide visuals: Show labels, charts, and posters with pictures or symbols representing objects or concepts to help language learning. - Create a print-rich environment: Surround your child with books, papers, and magazines. Let them scribble and discover letters and words. - Play pretend games: Stimulate imaginative play where your child can act out scenarios, which fosters their creativity and communication. Plus, sign language can come in handy for communication with toddlers who are still growing their speech abilities. Pro Tip: Be patient and supportive during this key period. Celebrate your kid's efforts to communicate properly, as it builds their confidence in expressing themselves fluently. Encouraging speech development at home To encourage speech development at home, create a language-rich play environment and use gestures and visual aids. By immersing your child in a stimulating linguistic atmosphere and incorporating visual cues, you can support their language acquisition skills and help them communicate effectively. Creating a language-rich play environment For your little one's language-enriched playtime, follow these 3 steps: - Storytelling: Use props, like puppets or dolls, to make up stories. This helps their vocabulary and narrative skills grow. - Descriptive language: Describe objects with words, like "bouncy," "round," or "blue." It increases their word bank and helps them understand different contexts. - Conversation: Ask open-ended questions to get your child thinking and using language. This boosts communication and confidence. Regular exposure to rich vocabulary, descriptive language, and conversations are great for children's speech skills. So why not bust out some dance moves and costumes? Using gestures and visual aids Gestures and visuals are an important part of language development! Incorporate hand movements and body language to help your child understand the meaning behind words. Flashcards, picture books, and digital resources can help build vocabulary. Use props or drawings to make storytelling more interactive and help kids grasp abstract concepts. Video modeling can teach social interaction and conversation. Adapt strategies to your child's developmental stage and preferences. Consistency is key! Create an environment where communication is encouraged and empowered. Unlock your child's communication potential with gestures and visuals - start today! But remember, for speech delays, seek professional help sooner than later. When to seek professional help for speech delays Toddlers can have speech delays, but it's important to know when to get help. Between 18 and 24 months old, if your child is saying only a few words or none, consult a speech-language pathologist. They are trained in helping young children with speech delays. Early assistance can have a huge effect on their communication. Speech delays could be from hearing problems, developmental disorders, or just slower language development. With professional help, you can learn what is causing the delay and how to help them. Also, watch for other signs of communication issues. These can include lack of eye contact, not understanding instructions, and being frustrated when trying to communicate. Every child develops differently, so don't worry if they haven't hit certain milestones yet. But if there are significant delays, it's best to get help. According to ASHA, early intervention can really help children with communication problems. So, if you think your toddler needs assistance with speech, don't wait - seek help! And soon enough, they'll be able to articulate their demands for candy and refuse to take 'no' as an answer! Tots around 18-to-24 months start to discover the incredible realm of speech and language. This stage is key in laying the groundwork for communication skills that'll affect their entire lives. Here, we've looked at 8 ways toddlers begin to talk. From babbling and repeating sounds to widening their vocab and using two-word phrases, each step brings them closer to effective communication. We've discussed the need for an encouraging environment that encourages talking with parents and caregivers. Reading books aloud, conversing, and exposing toddlers to various words and ideas helps them develop language. Regular exposure to such things helps them pick up new words and phrases quickly. Also, we've discussed how repetition is a learning tool for toddlers. Repeating words and sentences not just reinforces their understanding, but also helps them learn new words. This gives them the confidence to talk. Playing with puzzles, blocks, or dolls offers toddlers chances to learn new words while having fun. This encourages their curiosity and aids their speaking progress. Plus, social interaction is key in a toddler's language growth. Through watching other people's conversations and taking part in group settings like daycare or playdates, children improve their communication by observing and practice. Overall, everyone's language development timeline is different; so, comparisons should be avoided. It's important to celebrate each achievement of our kids, instead of worrying about delays. Frequently Asked Questions FAQs about Eight Ways Toddlers Begin Speaking Between 18 and 24 Months Q: What are some common signs that my toddler is starting to speak? A: Between 18 and 24 months, toddlers may begin to speak by using simple words, imitating familiar sounds, pointing to objects they want, or following simple instructions. Q: How can I encourage my toddler to start speaking? A: You can encourage your toddler's speech development by engaging in frequent conversation, reading books aloud, singing songs, playing word games, and providing a language-rich environment with lots of talking and listening opportunities. Q: Is it normal for my toddler to have a limited vocabulary at this age? A: Yes, it is normal for toddlers to have a limited vocabulary at this stage. Most toddlers will have around 20-50 words in their vocabulary by the age of 2. The important thing is that they are making progress in their language development. Q: What should I do if my toddler is not speaking much? A: If your toddler is not speaking much or showing signs of delayed speech, you should consult with a pediatrician or a speech-language pathologist for an evaluation. Early intervention can be helpful in addressing any speech or language delays. Q: Are there any red flags that indicate a potential speech delay in toddlers? A: Some red flags that may indicate a potential speech delay in toddlers include not speaking any words by 18 months, inability to follow simple instructions, lack of gestures or pointing, or difficulty understanding simple questions. Q: Can I assist my toddler's language development without professional help? A: Yes, there are various ways you can support your toddler's language development at home. These include speaking clearly and slowly, using simple and repetitive language, affirming and expanding on their words, and providing opportunities for social interaction and pretend play.

<urn:uuid:cbbb4d7f-b29e-48a7-a448-d8395d2b8307>

CC-MAIN-2023-40

https://jabaloo.com/blogs/education/eight-ways-toddlers-begin-speaking-between-18-and-24-months

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510676.40/warc/CC-MAIN-20230930113949-20230930143949-00572.warc.gz

en

The Grapes of Wrath, describes the difficulty of migrant labors during the Great Depression. Written by, John Steinbeck, this novel went on to receive many awards. Generally viewed as Steinbeck's best and most striving novel, The Grapes of Wrath was published in 1939. Stating the story of an expelled Oklahoma family and their fight to form a reestablished life in California at the peak of the Great Depression, the book captures the sorrow and anguish of the land throughout this time-period. The bank forecloses on the Joads land, so they decide to move west in search of new jobs. Though the Joads travel west in expectations of creating a restored life, the American Dream avoids them, their journey to California proves to be sorrowful and disappointing. Though they find some comfort in a camp and eventually get jobs, the life they dream of has only slipped further away. The parallels between John Steinbeck's life and the narrative story he carved are apparent and distinct. Steinbeck used imagery to paint a picture of current world situations that were going on in his life during the 1930's. His goal in writing this novel was to paint a picture and make his readers experience the life of the Dust Bowl immigrants. Though not a Dust Bowl immigrant himself, he spent a lot of time with them and got to know their anguish well. From the first chapters, to the unforgettable ending, The Grapes of Wrath remains a debated work in critical discussions, with themes and a setting that are uniquely American If you need assistance with writing your essay, our professional essay writing service is here to help!Essay Writing Service Beginning to write the novel in the mid to late 1930's, Steinbeck was surrounded by poverty, and hardship, and as are the Joads in the novel. Steinbeck modeled the setting to represent how things really were for migrant workers during this period. The Grapes of Wrath takes place during the Dust Bowl era of the 1930s. After being released from jail, protagonist, Tom Joad, quickly realizes that his family's farm has been repossessed by the bank. Tom finds the family at Uncle John's home as they get ready for a long journey to California in search of work, a journey numerous desperate families are also taking. Route 66 provides the transportation by which the migrants will arrive to California. It is "the path of a people in flight, refugees from dust and shrinking land, from the thunder of tractors and shrinking ownership,. from the floods that bring no richness to the land and steal what little richness is there" (Steinbeck 118).In California, "there was a Hooverville on the edge of every town," where migrant individuals camp all together and care for one another (Steinbeck 234). The Joads experience the surroundings of a Hooverville when they cross the desert into California, "There was no order in the camp; little gray tents, shacks, cars were scattered about at random" (241). "Steinbeck was inspired to write the novel after researching and producing a series of articles for the San Francisco News about migrant workers in California" (Conder 248). Throughout the 1930s, due to drought and years of agriculture without crop rotation or other destruction prevention, severe dust storms blew away the lives of many in many areas of the central plains, which developed into what is known as the, "Dust Bowl". Tied with the economic catastrophe of the Great Depression, this crisis forced thousands of people, many of them agriculturalists, off their property, wandering from place to place in hunt of work to survive. Several of these people, attracted by promises of opportunity, moved to California. Although they were from several states, "'the term 'Okie' - coined for a native of Oklahoma, one of the hardest-hit areas - was attached to the waves of families desperately heading West, their few remaining possessions piled high on old, barely operating vehicles. Those who made it to California found little work, poor living conditions, a great deal of resentment and prejudice, and even violence directed against them."(The Grapes of Wrath) John Steinbeck formed a fictional plot using current realities of the Dust Bowl. The exposition begins when Tom gets out of jail for good behavior and he realizes that everything he left was now different and his family is absent as well. The conflict arises when, Tom is out on parole, and he strictly cannot leave Oklahoma. However, his family is planning to move to California, where a government program offers a beautiful future for emigrant sharecroppers. The entire family and Casy, a longtime family friend, fit into a small truck to travel across the country. The rising action occurs when, the Joads set off for California, where many others are migrating west. As the Joads drive on, they begin to hear rumors that there aren't enough jobs in California. The climax is revealed when they arrive in California. As they go from place to place, searching for work, Casy, former reverend and current friend of Toms, leads a strike against the owners of Weedpatch, which in conclusion costs him his life. Tom spurs to lead the people, but the Joads must leave again when Tom thoughtlessly kills the corrupt policeman who murdered Casy. The falling action is seen when the Joads move onto a cotton-picking field where Tom hides out until his wounds are healed from the conflict. The resolution occurs when the Joads come to a farm where they find a barn. Inside the barn, they find a young boy and a man. They are sick from starving, and the man is not able to eat solid foods anymore without getting ill. Rose of Sharon gives the fading man her breast, which has milk from her recent birth, and comforts him with a blanket. They are all strangely at peace. The push for writing The Grapes of Wrath came out of John Steinbeck's involvement of studying and publishing Harvest Gypsies, "a seven-part San Francisco News series about the plight of agricultural migrant workers in California" (Steinbeck's Use). While leading that research, Steinbeck met and traveled with a man named Tom Collins, the manager of the "Arvin Migrant Camp (informally known as "Weedpatch Camp)" (Steinbeck's Use). The relationship Steinbeck formed with Collins grew between 1936 and 1938, when the two began traveling over the San Joaquin valley to gather information and offer aid to migrant families in crisis. "He wrote about the Okie exodus by the seat of his pants, as it happened" (O'Connell 60). "The Associated Farmers of California terminated the book as a "pack of lies" and "communist propaganda'" (The Grapes of Wrath). Steinbeck was put under surveillance of the FBI and received many death threats. The book was banned in many libraries and copies were burned in towns across The United States (Conder 248). " Steinbeck's speech, is found in Tom Joad, the novel's protagonist." ( McCarthy) Tom Joad is the novels protagonist .Joad is first seen coming home to Oklahoma after jail time for killing a man in a brawl, only to find an overcome land with local farms being repossessed by the banks. Tom and his family begin on their trek to California over highway 66. "Tom Joad, Steinbeck's figure of smoldering witness, the passive observer turned violent activist and communitarian conscience, has been grabbed by figures right and left to stand for something, represent something, or, in recent vintage, to represent nothing at all, rendered void of the political meaning deliberately invested in him by John Steinbeck (and others)" (Simon and Deverell 181). Through Tom Joad, Steinbeck builds anger and a sense of injustice over the migrant's misery. (McCarthy) Rose of Sharon is always watching out for the greatest interests of her unborn child and its seems to symbolize motherly instinct and protection. "Steinbeck departs from strictly Biblical imagery in portraying Rose of Sharon as an 'earth mother'. " (Rombold 161). Her natural protective nature over her baby, makes it even more heartrending when it is delivered as a stillborn. "By letting the stillborn child go upon the waters in its apple box, Uncle John inverts the story of baby Moses let go in a basket upon the Nile" (Rombold 160). "The symbolism of the earth mother is also a strong context within which to understand the final scene" (Rombold 162). Steinbeck ends the novel by having Rose of Sharon nurse a dying man from her breast. "Rose of Sharon loosened one side of the blanket and bared her breast. She looked up and across the barn, and her lips came together and smiled mysteriously" (Steinbeck 455). A symbol of hope is understood through Rose of Sharon's fostering actions in reviving the starving man. "By ending the novel this way, Steinbeck continues his literary references to the Bible as it provides symbolic resurrection of humanity and steps towards societies regrowth" ( Taliawaite). Jim Casy is an ex-preacher who knew the Joads as far back as Tom's childhood, claims that he has totally given up preaching "I ain't preachin no more. " (Steinbeck 20). Casy now places his faith in the astonishing power of human spirit. Steinbeck is representing Casey as a parallel to Jesus as his character carries optimism to the people that are in misery (Taliawaite). A more literal similarity that Steinbeck indicates to is his name, Jim Casey, which fatefully, has the same initials as Jesus Christ. "I ain't sayin' I'm like Jesus. But I got tired like Him, an' I got mixed up like Him, an' I went into the wilderness like Him. " (Steinbeck 81). Although he still did not believe himself to be a preacher, he had the courage to stand up to the corruption and the unfairness. Casey planned on leading the people in a strike that would help the laborers attain reasonable wages however he gets murdered during the objection. "The preacher, on'y he was a-leadin' the strike. They come for him. They killed 'im. Busted his head" (Steinbeck 390). Like Jesus who sacrificed himself on the cross, Casey's death is a sacrifice for the wellbeing of others. Casey's last words were "You don' know what you're a-doin" (Steinbeck 386) which can be paralleled to Jesus last words. "Father, forgive them; for they know not what they do (Luke 23:24)" (Rombold 157). Casey dies with honor and self-respect, as Jesus did. "John Steinbeck says that in growing up he 'absorbed' the Bible through his skin" (Rombold 146). Characters from the book mimic real life people suffering through the Depression. They had a reason to believe that there was a higher power watching over them during this time of hardship (Rombold 146). While Steinbeck used Biblical references, he chooses to keep God as an absent character, "For Steinbeck, the people themselves are the agents of change and the parties responsible for action. His use of Biblical allusions which generalize and deepen the Joad's experience within the tradition of the mythos, place this novel within a very broad context." (Rombold 147). Readers were shocked by the notion of neglecting God, but they had to consider the source, and learned to accept that it was Steinbeck's (Rombold146). Land and place are so more than just passive settings in The Grapes of Wrath. A man's connection to land is a very important theme, "Man's love of the land, his need not so much to own it as to embrace it, to sink his hands and feet in it, to cry for joy when the corn is peeking through and to sleep like a dead man when the last load is in the silo- this is the strongest force in the book" (O'Connell 59). Despite the ruggedness of the landscape, it develops the backdrop in contradiction of a wide range of human concern. Famers and country men had a very strong relationship to the property they grew to know. When they lose their land, the Joads not only lose their means of support, but they also lose their home. California is supposed to be a land flowing with milk and honey, a place of chance and change(McCarthy). For a farmer, land is opportunity, and therefore land is money. "The Grapes of Wrath, Steinbeck endorses the philosophy that economic, legal, religious, and societal forces largely control individual destiny, but lays out a philosophy to rise above those forces and achieve personal freedom" (Conder 260). The American dream is unattainable to immigrants. In The Grapes of Wrath, Steinbeck often challenges whether or not California is the, "promise land". He questioned if the whole thing of life, liberty, and the pursuit of happiness are achievable. For so many, the American Dream is a capitalist dream. Instead, Steinbeck, through his characters and themes, sought the dream of unity and compassion. Through Jim Casy and Tom Joad, it is seen that their passion lays in standing up for what is right, rather than sitting back and taking the hit. But that wasn't always the case for them, towards the beginning of the novel, all of them were eager to reach this so called, promise land. But eventually, they came to the realization that they were indeed just chasing an unrealistic dream. The Joad family is leading down "something of a problematic golden road- a path of escape from destitution to an ambiguous Californian deliverance. when the only option becomes putting the family on the road to a strange and unknown destination, problems are compounded" (Spangler). The Joads' persistent letdown to find supportive work and pay led to economic decay, lessening the likelihood that the American Dream would come to completion. Arthur G. Neal stated, "[the] economic hardships after the Great Depression fell disproportionately on the family unit" (Spangler). Throughout all the economic struggle and failures on finding the American Dream, the Joads managed to stick together through the triumph. John Steinbeck emphasized the theme of the unattainable American Dream; however, he added in that maybe people can achieve their own dream just by sticking together and never giving up. From the Joad family leaving Oklahoma, to the struggles in California, The Grapes of Wrath remains a moving and an extremely well written piece of art. The plot, setting, and characters are very expressive, and Steinbeck's fascinating writing techniques give the themes of the book a distinct feel. The parallels between John Steinbeck's life and the narrative story he carved are apparent and distinct. Throughout the 1930's, real people with real problems faced issues like what the Joad faced. John Steinbeck wrote a brilliant piece work in expressing the economic and emotional anguish the "Oakies" experienced. February 27,1902- John Steinbeck was born in Salinas, California. He was the third of four children and the only son of John Ernst II and Olive Hamilton Steinbeck. He spent his childhood in the Salinas Valley (John Steinbeck). 1919- Steinbeck attended classes at Stanford University, and left without a degree. "During these years Steinbeck dropped out for several months, and was employed intermittently as a sales clerk, farm laborer, ranch hand, and factory worker" (John Steinbeck). January 14,1930- John Steinbeck marries Carol Henning (John Steinbeck). Winter of 1934- He gathered information on farm labor unions. Interviews labor organizer in Seaside(John Steinbeck). April 1939- The Grapes of Wrath, was published by Viking (John Steinbeck). Spring of 1941- He separated from Carol; fall, later he moves to New York City with singer Gwyndolyn Conger (John Steinbeck). 1943- He marries Gwyn Conger in New Orleans (John Steinbeck). August 2, 1944- birth of first son, Thom (John Steinbeck). June 12, 1946 - birth of second son, John IV (John Steinbeck). September 14, 1964- presented with United States Medal of Freedom by President Lyndon B. Johnson (John Steinbeck). December 20, 1968- dies of arteriosclerosis in New York (John Steinbeck). Conder, J John. "Grapes of Wrath." Literary Themes for Students, Vol. 1, edited by Anne Marie Hacht, 2007, pp. 248-263. "John Steinbeck: A Brief Chronology." Monterey County Historical Society, Local History Pages, Montrerey Country Historical Society , 2010, mchsmuseum.com/steinbeckchronology.html. Date accessed 8 January, 2017. McCarthy, Paul. "John Steinbeck." Contemporary Literary Criticism, edited by Sharon R. Gunton, vol. 21, Gale, 1982. Literature Resource Center, go.galegroup.com/ps/i.do?p=LitRC&sw=w&u=pike&v=2.1&id=GALE%7CH1100000796&it=r&asid=427c16e5f57e22fd0bc6c3cbf3811a0c. Originally published in John Steinbeck, by Paul McCarthy, Ungar, 1980. Date accessed 9 Nov, 2016. O'Connel, Mike. "An American Farmer Looks at The Grapes of Wrath." The Steinbeck Review, vol. 6, no. 2, 2009, pp. 56-63. www.jstor.org/stable/41582115. Date accessed November 14, 2016. Rombold, Tamara. "Biblical Inversion in The Grapes of Wrath." College Literature, vol. 14, no. 2, 1987, pp. 146-166. www.jstor.org/stable/25111734. . Date accessed November 19, 2016. Simon, Bryant, and William Deverell. "Come Back, Tom Joad: Thoughts on a California Dreamer." California History, vol. 79, no. 4, 2000, pp. 180-191. www.jstor.org/stable/25463704. Date accessed November 10, 2016 Spangler, Jason. "We'Re on a Road to Nowhere: Steinbeck, Kerouac, and the Legacy of the Great Depression." Studies in the Novel, The Johns Hopkins University Press, 19 Feb. 2009, muse.jhu.edu/article/259422. Accessed 14 Feb. 2017. "Steinbeck's Use of Nonfiction Sources in 'The Grapes of Wrath' | EDSITEment." EDSITEment! The Best of the Humanities on the Web, 17 Sept. 2012, edsitement.neh.gov/lesson-plan/steinbecks-use-nonfiction-sources-grapes-wrath#sect-introduction. Date accessed 16 January, 2017. Steinbeck, John. The Grapes of Wrath. New York, NY, Penguin Group, 2006. Taliawaite. "A Look at Biblical Allusions." The Angry Grapes, 1 Dec. 2012, taliawaite.wordpress.com/2012/11/29/did-you-know-a-look-at-biblical-allusions/. Date accessed 5 December, 2016. "The Grapes of Wrath: 10 Surprising Facts about John Steinbeck's Novel ." The Telegraph, Telegraph Media Group, www.telegraph.co.uk/books/authors/john-steinbeck-grapes-of-wrath-what-you-should-know/. Date accessed 10 December, 2016. Cite This Work To export a reference to this article please select a referencing stye below: Related ServicesView all DMCA / Removal Request If you are the original writer of this essay and no longer wish to have your work published on UKEssays.com then please:

<urn:uuid:bbcbbb50-aa0a-4a7d-b4b8-20b24d08a9e0>

CC-MAIN-2023-40

https://us.ukessays.com/essays/english-literature/grapes-wrath-analysis-1725.php

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510319.87/warc/CC-MAIN-20230927171156-20230927201156-00572.warc.gz

en

The Strength of Storytelling Skills among Black Children and Positive Outcomes for Emergent Literacy Written by Sureshi Jayawardene Historical Significance of Storytelling and “Good Speech” Oral traditions are a strong feature in the Black community. This has been the case for many, many years. Rarely do we acknowledge the strength of these cultural forms even today. Over the years, various scholars have studied the continuities between these traditions and their roots on the African continent. The significance of the spoken word can be traced all the way to African antiquity. In ancient Egypt, the category, mdw nfr (medu nefer), refers to “good speech,” meaning speech that is not just effective and eloquent, but also anchored in an ethical value system (Karenga, 2014). “Good speech” applies equally in the private and public realms (Karenga, 2014). Tracing this tradition from antiquity, the principle of “good speech” is very much present in the storytelling practices found in other parts of the continent. In West Africa, storytelling functioned as both a social and cultural practice during the daily rituals of any given day. Storytelling was thought to be an art form and thus, nurtured in order to help preserve history, and to teach and comfort community members (Champion, 2003). Here too the principle of “good speech” is clearly in operation. Under conditions of slavery, we see a continued, and perhaps even necessary, reliance on oral narratives. Despite the horrific conditions of their new homes in the New World, Africans continued to tell stories as a way of comforting and teaching each other, as well as recording their history (Champion, 2003). In fact, “Africans took the language forced on them and interwove patterns of their native languages” such that storytelling continued well into the Jim Crow era, the Civil Rights movement, and is prominent even today (Champion, 2003). In other words, as Molefi Asante has written, “the African brought to America a fertile oral tradition, and the generating and sustaining powers of the spoken word permeated every area of life” (Smith and Robb, 1971, p. 1). Forcing Africans to face alien environments and cultural forms did not result in the complete annihilation of the storytelling tradition. These cultural forms are very much a part of contemporary Black communities. More specifically, however, oral narratives within the Black community tend to involve sophisticated literary techniques such as sound play, parallelism, and prosody (i.e., rhythm of sound like in poetry) (Gee, 1985). What’s more, these techniques reflect African forms of discourse further reinforcing the continuities of storytelling between Africa and the Americas (Smitherman, 1977). This article summarizes the findings of a recent study that builds on these rich traditions. In this study, investigators examine the associations between race/ethnicity, socioeconomic status, and pathways to literacy acquisition among young children. Linking Early Language , Oral Narrative Skill, and Emergent Literacy In this study, researchers explored the linkages between early language, oral narrative skill, and emergent literacy development. Although there is some evidence linking language and emergent literacy in general, differences by race/ethnicity and socioeconomic status remain understudied. Past research also focuses on associations and patterns among school-age children. Addressing these gaps, in their study, Gardner-Neblett and Iruka (2015) investigated the role of preschool oral narrative skills in the language-emergent literacy pathway. They used data compiled from the Early Childhood Longitudinal Study-Birth Cohort, a nationally representative dataset, to examine the role that oral narrative skill splay in the pathway between early language and emergent literacy. They explored how language in toddlerhood (age 2) is associated with oral narrative skills in preschool (age 4) and the subsequent associations with emergent literacy skills in kindergarten (age 5) (Gardner-Neblett and Iruka, 2015). The sample included approximately 6,150 African American, Latino, Asian American, and European American children of varying socioeconomic designations born in 2001. African Americans comprised 18% of the sample. Racial and Socioeconomic in Disparities in Literacy Disparities based on race and socioeconomic status in literacy acquisition have been documented (Snyder and Dillow, 2013). For instance, 56% of African American and Latino (54%) children demonstrated proficiency in expressive (words used by one in their own speech and writing) vocabulary compared to European American (71%) and Asian American (62%) peers. This is measured by the ability to communicate using gestures, words, and sentences (Snyder and Dillow, 2013). With socioeconomic status, children from higher socioeconomic backgrounds demonstrated greater expressive vocabulary than those from lower socioeconomic families (Snyder and Dillow, 2013). In terms of kindergarten reading, African American (33%) and Latino (30%) children scored lower compared with European American (37%) and Asian American (40%) children (Snyder and Dillow, 2013). Here too, children from higher socioeconomic families scored had higher reading scores than those from lower socioeconomic backgrounds (Snyder and Dillow, 2013). Gardner-Neblett and Iruka (2015) note that a greater percentage of African American children live in poverty (39%) than European American (13%) and Asian American children (13%). These data indicate that African American (and Latino) children are at greater risk of poor reading achievement. Although the expressive and receptive (words one understands when used by others) vocabulary skills of African American preschoolers tend to be below expectations when they enter kindergarten, some research suggests those who regularly use both Ebonics and Standard American English possess the linguistic skills that can benefit their literacy development (Connor and Craig, 2006). In terms of the linkage between early language skills and the oral narrative skills developed at a later age, another recent study found that among Black preschoolers of primarily low-income households, their complex syntax and higher vocabulary scores were associated with oral narratives of greater quality (Terry et al, 2013). Gardner-Neblett and Iruka (2015) contend that for African American children oral narrative skills may reflect a strength that can prove useful in later reading development. In addition, research shows that African American children tell vivid, elaborative, and well-developed narratives that are also rich in detail and imagery (Reese et al, 2010). These narratives comprise complex organizational structures (Mainess et al, 2002). The quality of storytelling among Black children, research suggests, parallels and sometimes even exceeds that of narratives by their European American counterparts (Curenton, 2004). African American Children's Storytelling Skills The results of Gardner-Neblett and Iruka’s (2015) study are as follows: Nonpoor European American and nonpoor Asian American children had toddler language skills that were above the overall sample mean. In terms of preschool narrative skills, in general, all nonpoor children scored above the overall sample mean, and poor children scored below the sample mean. In the emergent literacy category, nonpoor Asian American children had the highest score, and poor African American and poor Latino children had the lowest scores. The researchers conducted a path analysis to determine the paths from toddler language and narrative skills through emergent literacy based on race/ethnicity and socioeconomic status. For poor African American children, toddler language predicted preschool narrative skills and emergent literacy. Narrative skills also predicted emergent literacy. Oral narrative skills partially mediated the language-emergent literacy link for poor African American children. For nonpoor African American children, toddler language was predictive of narrative skills, but not emergent literacy. Narrative skills were also predictive of emergent literacy. These analyses showed that narrative skill was a significant mediator of the association between toddler language and emergent literacy for both poor and nonpoor African American children. That oral narrative skills fully mediated the link between early language and emergent literacy among nonpoor African Americans likely reflects the influence of additional resources. However, overall, these findings highlight that oral narrative skills have important implications for African Americans’ literacy development. Early language skills include syntax, vocabulary, communicative ability, and morphology which is thought to be both directly and indirectly related to the development of emergent literacy skills (Gardner-Neblett and Iruka, 2015). This means that the stronger children’s early language skills are, the greater their reading achievement in later years (NICHD Early Child Care Research Network, 2005). In Gardner-Neblett and Iruka’s (2015) study, African Americans were the only racial category for whom narrative skills were a significant mediating factor in emergent literacy. This finding reflects the long historical and cultural influences of storytelling and rich oral traditions in the Black community. Over the years, these influences have likely fortified oral communicative practices such that storytelling has emerged as a strength among African American children today. If we approach the oral narrative skills, or storytelling abilities, of Black children through the African cultural framework of nommo, the word, we are also able to appreciate the communal character of the practice. We see that it is a “rhetoric of community,” one through which communal action, discourse, and debate are activated toward the overall good of the community (Karenga, 2014). Through this approach, we can see the importance of continuing to nurture our children’s early language skills. Moreover, the findings of Gardner-Neblett and Iruka’s (2015) study show that solutions to our community’s problems are within reach, not ones that need to be sought from external sources. As Black families and parents continue to stimulate storytelling skills not just for the high scores on reading tests, but toward developing literacy skills and harnessing multiple communicative modes we ultimately put into motion “good speech” for the benefit of Black communal advancement and longevity. Champion, T.B. (2003). Understanding storytelling among African American children: A journey from Africa to America. New York, NY: Routledge. Connor, C.M. and Craig, H.K. (2006). African American preschoolers’ language, emergent literacy, and use of African American English: A complex relation. Journal of Speech, Language, and Hearing Research 49: 771-792. Curenton, S.M. (2004). Oral storytelling: A cultural art that promotes school readiness. Young Children 61: 78-89. Gardner-Neblett, N. and Iruka, I.U. (2015). Oral narrative skills: Explaining the language-emergent literacy link by race/ethnicity and SES. Developmental Psychology 51 (7): 889-904. Gee, J.P. (1985). The narrativization of experience in the oral style. Journal of Education 167: 9-35. Karenga, M. (2014). Nommo, Kawaida, and Communicative Practice: Bringing good into the world. In M. Asante, Y. Miike, and J. Yin (Eds.), The Global Intercultural Communication Reader (pp. 211-225). Mainess, K.J., Champion, T.B. and McCabe, A. (2002). Telling the unknown story: Complex and explicit narration by African American preadolescents – preliminary examination of gender and socioeconomic issues. Linguistics and Education 13: 151-173. NICHD Early Child Care Research Network. (2005). Pathways to reading: The role of oral language in the transition to reading. Developmental Psychology 41: 428-442. http://dx.doi.org/10.1037/0012-1618.104.22.1688 Reese, E., Levya, D., Sparks, A., and Grolnick, W. (2010). Maternal elaborative reminiscing increases low-income children’s narrative skills relative to dialogic reading. Early Education and Development 21:318-342. Smith, A.L. and Robb, S. (Eds.). (1971). The voice of Black rhetoric. Boston, MA: Allyn and Bacon. Smitherman, G. (1977). Talkin and testifyin: The language of Black America. Boston, MA: Houghton Mifflin. Snyder, T. and Dillow, S.A. (2013). Digest of educational statistics 2012. (No. NCES 2014-015). Washington, DC: U.S. Department of Education. Terry, N.P., Mills, M.T., Bingham, G.E., Mansour, S., and Marencin, N. (2013). Oral narrative performance of African American prekindergarteners who speak nonmainstream American English. Language, Speech, and Hearing Services in Schools 44: 291-305. Written by Serie McDougal African American students’ levels of preference for learning activities that involve hands on activity and physical involvement in the learning environment are well documented (Dunn and Honigsfeld, 2003). Concepts such as tactile learning and kinesthetic learning are often used to explain these learning preferences. However, for African American boys, this preference is rarely contextualized within an African historical and cultural context. Wade Boykin is one of the few scholars who have conceptualized a far reaching contextualization of African American youth, their culture, and learning styles. He has also helped to develop a model of culturally relevant education for youth in general (the Talent Quest Model). However, this article particularly focuses on one feature of Boykin’s research, Movement Expressiveness and its current relevance to teaching and learning particularly in the education of African American youth. African American Cultural Theory According to Allen and Boykin (1992), there are nine interrelated dimensions of African American culture: (a) spirituality, a vitalistic rather than mechanistic approach to life, (b) harmony, the belief that humans and nature are harmoniously conjoined, (c) movement expressiveness, an emphasis on the interweaving of movement, rythm, percusiveness, music, and dance, (d) verve, the special receptiveness to relatively high levels of sensate stimulation, (e) affect, an emphasis on emotion and feelings, (f) communalism, a commitment to social connectedness where social bonds transcend individual privileges, (g) expressive individualism, the cultivation of a distinctive personality and proclivity or spontaneity in behavior, (h) orality, a preference for oral/aural modalities of communication, and (i) social time perspective, an orientation in which time is treated as passing through a social space rather than a material one (Allen et al, 1992). According to Boykin, when these cultural dimensions and African American experiences with mainstream institutions are at odds, cultural discontinuity occurs. These different cultural dimensions play themselves out in all different areas of life. One of the dimensions of African American culture that Allen and Boykin (1992) identify is Movement expressiveness. Movement expressiveness takes on new meaning in the educational settings. In school, movement expressiveness refers to an emphasis on the interweaving of movement, rhythm, percussiveness, music and dance with the learning process. Students and teachers who have high preference for tactile (hands on) learning or teaching are compatible with this dimension of African American culture. Students with high preference for tactile learning learn better when they can move, manipulate and physically touch the material that they are learning, and have a need for hands on activity. Teachers with a preference for this area make use of teaching techniques that allow students to move, manipulate, and physically touch the material that they are learning. A student or teacher with low preference in this area is considered incompatible with this African American cultural dimension. Students and teachers with high preference for mobility, considered congruent with this dimension of African American culture (Jackson-Allen & Christenberry, 1994). Students with a high preference for mobility learn better by moving around after studying for more than 15 minutes and tend to find it difficult to sit in one place for long periods of time. Teachers with preference in the area of mobility make use of teaching techniques that allow students to move around while learning. A student or teacher with low preference in this area is considered dissimilar with this Afro-cultural dimension. Students and teachers with high preference forkinesthetic learning and teaching are consistent with this dimension of Afro-culture. Kinesthetic learners are action oriented learners and they learn and remember better when they can physically act things out and move around while learning. Teachers with preference in the area of kinesthetics make use of teaching methods and techniques that allow students to be physically involved with what they are learning. A student or teacher with low preference in this area is considered incongruent with this Afro-cultural dimension. Empirical Research on Movement Expressiveness One study testing the effects of movement expressiveness on learning among Black youth was conducted by Boykin and Cunningham (2002). The researchers selected a group of 64 African American children, between the ages of 7 and 8, from a large mid – Atlantic urban elementary school (Allen & Boykin, 2002). The sample consisted of 32 males and 32 females. Participants were given the Child Activity Questionnaire (CAQ) and the Home Stimulation Affordance Questionnaire (HSA). The CAQ measures the child’s perceived motoric activity level. The teachers’ perception of the children’s classroom behavior was measured using the Teacher Rating of Classroom Motivation (TCM), which measures a teachers’ perception of the child’s level of motivation in traditional classroom activities such as completing and engaging in tasks. A second measure called the Achievement Rating Scale (ACH) allowed teachers to rate a child’s overall level of academic performance. Two audio recorded stories served as stimuli. One story reflected Low Movement Theme (LMT) behaviors and activities, in which the content of the story did not involve a high degree of movement and active behavior. The second story reflected a High Movement Content Theme (HMT) involving movement expressive themes such as running, dancing, and jumping. Each student participated in two different learning contexts differing in movement opportunity and music. In the Low Movement Expressiveness (LME) context the investigator read aloud the story in front of participants. The second learning context was the High Movement Expressiveness (HME) context in which an investigator read aloud the story to children with the accompaniment of music and students were allowed to clap their hands, move, jump and dance. The dependent variable of this study was the students’ level of cognitive processing. The memory and understanding of the content of the stories was measured by asking the students a series of questions regarding names, events, actions and relationships in the story. The results show that African American children exposed to HMT stories performed significantly better (achieved higher scores) than those exposed to the LMT stories (Allen & Boykin, 2002). Those exposed to the HME context performed significantly better than students under the LME context (had greater knowledge of the content). Results also revealed that the more active children are, the greater the amount of stimulation in their home. The higher a child was rated by the teacher in motivation for traditional classroom activities, the higher that student was rated in overall achievement. The learning context effect demonstrated that African American children’s overall performance was significantly higher under the HME context than under the LME learning context. The authors of this study infer, “given that child and home activity levels are positively correlated with performance under the HME context, one could infer that high movement expressiveness could be used as an asset to be capitalized upon in the appropriate learning contexts” (Allen & Boykin, 2002, p. 81). This study confirmed the literature which suggests that African American children’s intellectual tasks should include information consistent with their life experiences, and culturally salient themes prevalent in their home environment and everyday routines outside of school. The findings also support the literature that suggests that incorporating polyrhythmic, syncopated music and opportunities for movement expression into learning contexts facilitates low income African American children’s performance on tasks (Hagans, 2005). However, the study was done on 7 and 8 year old children. The replication of this study in African American high school age populations might reveal different results. Moreover, gender differences were not examined to a significant extent. There is also a need for more current research on the phenomena given the promising results of studies conducted between 2000 and 2010. Current Application to Educational Development Findings, like these may present opportunities for teachers of students who respond positively to movement expressiveness. In this case, learning activities that allow students to use their hands, and their bodies to understand and express their understanding of information should be increased. This can often be the difference between asking students to complete a mathematics word problem versus asking students to engage in a task such as measuring the square footage of the classroom and estimating how much carpet would be necessary to cover the classroom floor. They both require math skills, but the latter allows students to be physically and tactically involved in the learning process. Boykin is currently the director of the Capstone Institute at Howard University, which presently provides multidimensional services including: curriculum development, faculty development, leadership training, k-12 support and other services. Boykin’s research informs the Talent Quest Model which is the philosophical foundation of the Capstone Institute. The Talent Development Model has four major pillars: four major pillars: overdetermined success, integrity-based ethos, multiple expected outcomes, and co-construction. Allen, B. A. & Boykin, A. W. (1992). African American children and the educational process: Alleviating cultural discontinuity through prescriptive pedagogy. School of Psychology Review. 02796015, 21(4). Boykin, A. W. (2000). The talent development model of schooling: Placing students at promise for academic success.Journal of Education for Students Placed at Risk, 5 (1 & 2), pp. 3-25. Boykin, A. W., Cunningham, R. T. (2002). The effects of movement expressiveness in story content and learning context on the analogical reasoning performance of African American children. The Journal of Negro Education. 70( ½), Winter/ Spring. Dunn, R., & Honigsfeld, A. (2003). High school male and female learning style similarities and differences in diverse nations. Journal of Educational Research. Mar\Apr, 96, Issue 4, pp. 195 -207. Hagans, W. W. (2005). Musicians' learning styles, learning strategies, and perceptions of creativity. Dissertation Abstracts International Section A, 66, 55. Jackson-Allen, J., & Christenberry, N. J. (1994). Learning Style Preferences of Low- and High- Achieving Young African-American Males. Paper presented at the Annual Meeting of the Mid-South Educational Research Association (Nashville, TN, November 9-11).

<urn:uuid:a5a3e651-16c0-439f-b58c-d4c5114a5502>

CC-MAIN-2023-40

http://www.afrometrics.org/research-based-news/archives/08-2015

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506329.15/warc/CC-MAIN-20230922034112-20230922064112-00573.warc.gz

en

What Is Generational Trauma? Generational trauma refers to transmitting traumatic experiences and their associated effects from one generation to another. The collective psychological and emotional impact can be inherited by individuals and communities who have experienced significant adversity, such as war, genocide, slavery, forced displacement, or systemic oppression. Unlike individual trauma, which stems from personal experiences, generational trauma arises from the long-lasting effects of historical events that continue to shape the present. The trauma experienced by one generation can influence subsequent generations’ beliefs, behaviors, and overall well-being. This transmission can occur through various mechanisms, including familial narratives, cultural norms, parenting styles, and epigenetic changes that alter gene expression. This condition can lead to psychological, emotional, and social challenges, impacting mental health, relationships, self-esteem, and resilience. Understanding generational trauma is crucial for promoting healing and breaking the cycle of intergenerational suffering. By acknowledging its existence and effects, individuals and communities can work towards addressing the underlying wounds, promoting resilience, and fostering a healthier future. Generational Trauma Vs Intergenerational Trauma What Is Intergenerational Trauma? Intergenerational trauma is a concept closely related to generational trauma. It refers to transmitting trauma and its consequences from one generation to the next and across multiple generations. Intergenerational trauma recognizes that the effects of trauma can persist over time and impact the well-being of individuals and communities for several generations. Like generational trauma, intergenerational trauma can stem from historical events, such as wars, genocides, forced migration, colonization, or cultural oppression. The trauma experienced by earlier generations continues to reverberate through subsequent generations, shaping their experiences, beliefs, and behaviors. Family dynamics, cultural norms, and societal structures often perpetuate intergenerational trauma. The unresolved trauma of past generations can influence parenting styles, emotional patterns, and coping mechanisms, which can, in turn, impact future generations’ psychological and emotional well-being. Understanding intergenerational trauma is essential for breaking the cycle of suffering and promoting healing. By recognizing the intergenerational transmission of trauma, individuals and communities can work towards addressing the underlying wounds, promoting resilience, fostering empathy, and creating supportive environments that facilitate healing and recovery for all generations involved. Healing Intergenerational Trauma Healing intergenerational trauma requires a multi-faceted approach, including: - Education and awareness about the trauma’s historical context. - Therapeutic interventions, such as trauma-focused therapy. - Creating supportive communities and safe spaces for healing. - Cultivating resilience and self-care practices. - Breaking destructive cycles through healthy relationships and parenting. - Advocating for social justice and addressing systemic inequalities. By addressing the trauma’s roots, promoting healing, and fostering resilience, we can work towards breaking the cycle of intergenerational trauma and creating a brighter future. What is Transgenerational Trauma? Transgenerational trauma is a term that is often used interchangeably with generational trauma and intergenerational trauma. It refers to transmitting trauma and its effects across multiple generations within a family or community. The term “transgenerational” emphasizes the transmission of trauma through successive generations. Transgenerational trauma recognizes that the impact of trauma can extend beyond immediate family members and affect broader kinship networks and communities. It acknowledges that the consequences of trauma can be deeply ingrained in the collective psyche and influence the beliefs, behaviors, and well-being of individuals across different generations. Transgenerational trauma can manifest in various ways, including shared narratives, cultural practices, and behavioral patterns. It is not limited to a specific type of trauma but can result from various experiences, such as historical events, systemic oppression, or familial trauma. Understanding transgenerational trauma helps shed light on the complex interplay between historical context, family dynamics, and individual experiences. It highlights the need for a comprehensive approach to healing that considers not only the experiences of individuals but also the broader context of intergenerational trauma and its systemic implications. By acknowledging transgenerational trauma, individuals and communities can work towards breaking the cycle of trauma, promoting resilience, and fostering a collective healing process. - Childhood Trauma Test For Adults. Free Childhood Trauma Test 1 Minute Quiz - Trauma Symptoms, Sexual, Betrayal, Acute, Complex, Emotional & Psychological Traumas - Understanding Childhood Trauma, Causes, Signs, & Treatment - Top 6 Effective Coping & Grounding Techniques for Anxiety Attacks & Trauma - What Is Complex Trauma & How Does It Develop? CPTSD Symptoms, Signs & Treatment - Behavioral Health Trauma and Addiction Connection, Types, Signs, Treatments - Trauma Treatment: What Is It? Symptoms & Types - Short-Term Disability Mental Health Get Help. Get Better. Get Your Life Back. Searching for Accredited Dual Diagnosis Mental Health Centers Near You? Even if therapy failed previously, or are in the middle of a difficult crisis, we stand ready to support you. Our trusted behavioral health specialists will not give up on you. When you feel ready or just want someone to speak to about counseling alternatives to change your life call us. Even if we cannot assist you, we will lead you to wherever you can get support. There is no obligation. Call our hotline today.FREE 24/7 Dual Diagnosis Mental Health Services Hotline Generational Trauma Facts Generational Trauma Definition Generational trauma refers to transmitting trauma across generations, affecting individuals’ and communities’ physical, emotional, and psychological well-being. It arises from various sources such as historical oppression, war and conflict, cultural trauma, and family dysfunction or abuse. It can stem from traumatic experiences that occurred in the past and continue to impact subsequent generations. These experiences include slavery, genocide, forced migration, discrimination, and other systemic oppression. Family dynamics and unresolved trauma within the family unit can also contribute to this condition. Impact on Health GT can have a profound impact on individuals’ health. It is associated with increased risks of mental health disorders, including anxiety, depression, post-traumatic stress disorder (PTSD), and substance abuse. Additionally, physical health conditions such as heart disease and other stress-related ailments may be more prevalent among individuals affected by this condition. Trauma can be transmitted across generations through various mechanisms. Genetic factors can contribute to the vulnerability of individuals to certain mental health conditions. Family dynamics learned behaviors, and coping mechanisms influenced by the trauma experienced by previous generations can also play a role. Societal factors, including ongoing discrimination and prejudice, can perpetuate the cycle of generational trauma. Communities affected by generational trauma often demonstrate resilience and strength through cultural practices, community support, and collective healing strategies. Cultural traditions, rituals, and ceremonies can serve as important tools for processing trauma, fostering a sense of identity, and promoting healing within the community. Breaking Generational Trauma Recognizing and addressing GT is crucial for breaking the cycle of generational trauma and promoting healing. Raising awareness about the impact of this condition, seeking therapy or counseling, and implementing supportive interventions can help individuals and communities heal from their traumatic experiences. Education, advocacy, and creating safe spaces for open dialogue are important steps toward breaking the cycle of generational trauma and fostering healthier legacies. Generation Trauma Statistics The enduring repercussions of trauma across multiple generations are profound. When a collective endures a traumatic event, it can deeply affect the psychological and physiological well-being of all involved. Studies have revealed an elevated risk of PTSD symptoms among intimate partner violence victims and the offspring of Holocaust survivors. Individuals who experienced childhood abuse often suffer from adverse mental health outcomes, such as depression and anxiety. Moreover, traumatic experiences in childhood have been associated with health issues like heart disease and substance abuse. These statistics underscore the significant impact that trauma endured by one generation can have on the subsequent generation’s overall health. Recognizing and addressing this issue is crucial for facilitating healing and breaking the cycle of trauma. American Indian and Alaska Native adults reported exposure to at least one traumatic event during their lifetime. of children who have been exposed to intimate partner violence develop symptoms of PTSD. 2-3 times higher individuals who experienced childhood abuse risk developing depression and anxiety disorders later in life. End the Emotional Pain. Get Your Life Back. Feeling Depressed, Anxious or Struggling with Mental Health Illness? Get Safe Comfortable Mental Health Dual Diagnosis High-Quality Therapy From Counselors That Care. Begin Your Recovery Now.Hotline (855) 940-6125 Generational Trauma Examples & Symptoms Generational trauma can manifest in various forms and stem from historical events or ongoing systemic issues. Here are a few examples of GT: - Slavery and Racism: The trauma endured by enslaved African Americans and their descendants has impacted subsequent generations. Systemic racism, discrimination, and ongoing racial inequalities contribute to the transmission of trauma and its effects on mental health, well-being, and opportunities for advancement. - War and Conflict: Communities affected by prolonged conflicts, such as those in regions like the Middle East or countries with a history of war, often experience generational trauma. The psychological and emotional wounds resulting from war and displacement can be inherited by subsequent generations, affecting their sense of identity, relationships, and overall well-being. - Genocide and Mass Atrocities: Historical events like the Holocaust, the Rwandan genocide, and the Armenian genocide have caused immense trauma that continues to impact the descendants of survivors. The horrors experienced by earlier generations can lead to psychological, emotional, and intergenerational effects that shape the lives of subsequent generations. - Indigenous Oppression: Indigenous communities worldwide have endured generations of trauma due to colonization, forced assimilation, cultural genocide, and the loss of land and traditional practices. This ongoing trauma can contribute to various challenges Indigenous peoples face, including mental health disparities, substance abuse, and social inequalities. - Forced Migration and Displacement: Generational trauma can arise from forced migration and displacement due to factors like war, political instability, or environmental disasters. The loss of home, separation from loved ones, and the challenges of resettlement can impact the immediate survivors and their descendants. These examples illustrate the profound and lasting effects of GT. Understanding these historical contexts and their impact on subsequent generations is crucial for promoting empathy, healing, and creating supportive environments for affected individuals and communities. How Trauma Gets Passed Down Through Generations? The transmission of trauma through generations occurs through various mechanisms, including psychological, social, and biological factors. Here are some ways in which trauma can be passed down: - Family Dynamics and Parenting Styles: Trauma experienced by parents or caregivers can influence their parenting styles and behaviors, directly impacting the emotional environment in which their children are raised. Parents may inadvertently transmit their unresolved trauma through their parenting, such as through excessive protectiveness, emotional withdrawal, or difficulty regulating emotions. - Intergenerational Communication and Narrative: Traumatic experiences often become part of the family narrative and are passed down through stories, conversations, and cultural practices. How trauma is discussed or avoided within the family can shape the understanding and interpretation of the event, impacting subsequent generations’ perceptions and emotional responses. - Epigenetic Changes: Epigenetics refers to changes in gene expression that occur without altering the underlying DNA sequence. Traumatic experiences can potentially modify gene expression patterns, leading to alterations in the regulation of stress response systems. These changes can be passed down from generation to generation, potentially impacting individuals’ susceptibility to stress and mental health outcomes. - Cultural and Social Norms: Trauma can become embedded within cultural and social norms, influencing the beliefs, values, and behaviors of a community or society. These norms, which may emerge as a response to historical trauma, can perpetuate certain patterns of behavior and shape the collective experience of subsequent generations. - Environmental Factors: Trauma can be perpetuated through ongoing environmental stressors, such as socioeconomic disparities, systemic oppression, or community violence. Living in an environment that reflects the aftermath of trauma can contribute to transmitting trauma across generations. Not all individuals who experience trauma will pass it down to future generations, and the extent of transmission may vary. The mechanisms of intergenerational trauma are complex and multifaceted, influenced by both individual and contextual factors. Recognizing these mechanisms can help inform efforts to break the cycle of trauma and promote healing and resilience in affected individuals and communities. First-class Facilities & Amenities World-class High-Quality Mental Health Services & Behaviroal Health Substance Abuse TreatmentRehab Centers Tour Renowned Mental Health Centers. Serene Private Facilities. Inpatient Rehab Programs Vary.Mental Health Helpline (855) 940-6125 Proven recovery success experience, backed by a Team w/ History of: - 15+ Years Experience - 100s of 5-Star Reviews - 10K+ Recovery Successes - Low Patient to Therapist Ratio - Comprehensive Dual-Diagnosis Treatment - Complimentary Family & Alumni Programs - Coaching, Recovery & Development Events - Comfortable Onsite Medical Detox Center Healing Generational Trauma Healing generational trauma is a complex and transformative journey that addresses the deep-rooted wounds passed down through generations. Here are some key approaches to healing GT: - Acknowledgment and Validation: Recognizing and validating the existence and impact of generational trauma is a crucial first step. This involves acknowledging the pain, experiences, and emotions of individuals and communities affected by the trauma. - Cultivating Resilience: Building resilience is essential for healing. Encouraging individuals and communities to develop coping skills, self-care practices, and supportive networks can help them navigate the effects of trauma and promote overall well-being. - Therapy and Trauma-Informed Care: Seeking therapy, particularly trauma-focused therapy, can provide individuals with a safe and supportive space to process their experiences and develop strategies for healing. Trauma-informed care approaches ensure that professionals are sensitive to generational trauma’s specific needs and triggers. - Breaking the Silence: Encouraging open dialogue and storytelling about GT can help break the surrounding silence. Sharing personal narratives and family histories can facilitate understanding, empathy, and community connection. - Cultural Revitalization: Embracing and reclaiming cultural practices, traditions, and values can be vital in healing generational trauma. Celebrating cultural identity and engaging in activities that promote a connection to heritage can foster a sense of belonging and empowerment. - Social Justice and Advocacy: Addressing systemic inequalities, discrimination, and social injustices is crucial for healing generational trauma. Advocating for change, supporting policies that promote equity, and working towards dismantling oppressive systems can contribute to healing on both individual and collective levels. - Empowerment through Education: Providing access to education and resources that promote understanding, self-empowerment, and intergenerational healing can be transformative. This includes education about generational trauma, historical contexts, and tools for breaking destructive cycles. Healing generational trauma requires patience, compassion, and a commitment to creating environments that support healing and resilience. By addressing the root causes of trauma, promoting self-care, fostering cultural connections, advocating for justice, and providing therapeutic support, individuals and communities can embark on a transformative path toward healing and breaking the cycle of generational trauma. World-class, Accredited, 5-Star Reviewed, Effective Mental Health Dual Diagnosis Programs. Complete Integrated Inpatient Rehab with Free Post Discharge Therapy Planning.CALL (855) 940-6125 End the Emotional Pain Rollercoaster. Gain Stability & Happiness Through Recovery Treatment. Start Mental Health Counseling Today. Get Free No-obligation Guidance by Behaviroal Health Specialists Who Understand Mental Health Recovery. We Level Up Fort Lauderdale Florida Mental Health Center At We Level Up in Fort Lauderdale, Florida, a comprehensive mental health center, a range of essential services are offered to provide comprehensive care and support to individuals seeking mental health assistance. These services may include: - Diagnostic Assessments: Conduct thorough evaluations and assessments to accurately diagnose various mental health conditions, such as depression, anxiety, bipolar disorder, and others. - Individual Therapy: Providing one-on-one therapy sessions with qualified professionals trained in various therapeutic modalities. These sessions can address specific mental health concerns, explore personal challenges, and develop effective coping strategies. - Group Therapy: Offering group therapy sessions that provide a supportive and empathetic environment for individuals to connect with others who may share similar experiences or challenges. Group therapy can facilitate personal growth, provide a sense of community, and enhance interpersonal skills. - Medication Management: Collaborating with psychiatrists or medical professionals to provide medication management services when appropriate. This includes prescribing, monitoring, and adjusting medications to manage symptoms and optimize mental well-being effectively. - Cognitive-Behavioral Therapy (CBT): Utilizing CBT techniques to help individuals identify and modify negative thought patterns and behaviors contributing to their mental health concerns. CBT can assist in developing healthier coping mechanisms and promoting positive changes in thinking and behavior. - Mindfulness-Based Interventions: Incorporating mindfulness-based approaches, such as mindfulness-based stress reduction (MBSR) or mindfulness-based cognitive therapy (MBCT), to help individuals cultivate present-moment awareness, reduce stress, and enhance overall well-being. - Family Therapy: Involving family members in therapy sessions to address family dynamics, improve communication, and support individuals with mental health challenges. Family therapy promotes understanding, strengthens relationships, and creates a supportive network. - Psychoeducation: Providing educational resources and information to clients and their families about mental health conditions, treatment options, self-care strategies, and community resources. Psychoeducation aims to enhance understanding and empower individuals to participate in their mental health journey actively. - Holistic Approaches: Incorporating complementary therapies such as art therapy, music therapy, yoga, or relaxation techniques to support overall well-being and promote a holistic approach to mental health care. Popular Generation Trauma FAQs Is Generational Trauma Real? Yes, this condition is a real phenomenon. It refers to transmitting traumatic experiences and their effects across multiple generations. Trauma’s psychological, emotional, and social impacts can be inherited and influence the well-being of individuals and communities. Recognizing and addressing generational trauma is crucial for promoting healing and resilience and breaking the cycle of intergenerational suffering. 8 Steps & Tips for Maintaining Your Mental Wellbeing Informative Video At We Level Up FL, our primary focus is to deliver personalized mental health services that cater to the unique needs of every individual we serve. We are deeply rooted in extensive research and possess a profound understanding of the intricacies of mental health. By adopting a collaborative approach, our dedicated team works closely with each person to design customized therapy programs that address their particular challenges and goals. Our unwavering commitment lies in providing empathetic support and guidance throughout the therapeutic journey. We firmly believe in empowering individuals to take control of their mental health and make meaningful strides toward overall well-being. Our approach is centered on creating a safe and nurturing environment where individuals can explore their experiences, develop effective coping strategies, and foster personal growth. At We Level Up FL, we recognize the significance of tailoring mental health care to the unique needs of each individual. We prioritize establishing a strong therapeutic alliance with every client, fostering a collaborative relationship where we can identify their strengths and areas for growth. By customizing our interventions and treatment plans, we strive to optimize outcomes and provide comprehensive support for individuals to achieve enduring positive change. With a compassionate and dedicated team of mental health professionals, we are wholeheartedly committed to delivering high-quality care and empowering individuals on their transformative journey toward enhanced well-being. At We Level Up FL, we support you every step of the way. Experience Transformative Recovery at the We Level Up Treatment Center. See our authentic success stories. Get inspired. Get the help you deserve. Start a New Life Begin with a free call to a behavioral health treatment advisor. Learn more about our dual-diagnosis programs. The We Level Up treatment center network delivers recovery programs that vary by each treatment facility. Call to learn more. - Personalized Care - Caring Accountable Staff - World-class Amenities - Licensed & Accredited - Renowned w/ 5-Star Reviews We’ll Call You Search We Level Up FL Generation Trauma Resources - National Institute of Mental Health (NIMH) – Trauma: https://www.nimh.nih.gov/health/topics/trauma-and-stressor-related-disorders/index.shtml - Substance Abuse and Mental Health Services Administration (SAMHSA) – Trauma and Violence: https://www.samhsa.gov/trauma-violence - Centers for Disease Control and Prevention (CDC) – Adverse Childhood Experiences (ACEs): https://www.cdc.gov/violenceprevention/childabuseandneglect/acestudy/index.html - National Child Traumatic Stress Network (NCTSN): https://www.nctsn.org/ - U.S. Department of Veterans Affairs – National Center for PTSD: https://www.ptsd.va.gov/ - Office for Victims of Crime (OVC) – Trauma-Informed Approach: https://www.ovc.ojp.gov/program/trauma-informed-approach - National Institute on Minority Health and Health Disparities (NIMHD) – Trauma and Health: https://www.nimhd.nih.gov/programs/edu-training/trauma-health.html - Indian Health Service (IHS) – Historical Trauma: https://www.ihs.gov/newsroom/factsheets/historicaltrauma/ - Administration for Children and Families (ACF) – Child Trauma: https://www.acf.hhs.gov/cb/research-data-technology/child-welfare-systems/child-trauma - Office of Minority Health (OMH) – Trauma and Communities of Color: https://minorityhealth.hhs.gov/omh/browse.aspx?lvl=4&lvlid=61

<urn:uuid:04ab149a-91b5-41da-9335-47dfae7bcdd5>

CC-MAIN-2023-40

https://welevelupfl.com/behavioral-health/generational-trauma/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506539.13/warc/CC-MAIN-20230923231031-20230924021031-00871.warc.gz

en

Vocal ensembles, more commonly known as choirs, have long been recognized for their ability to create a harmonious blend of voices that transcends individual contributions. This article explores the transformative power of choir singing in fostering harmony among vocalists and within communities at large. By examining the benefits of choral participation, including improved mental health and social connections, this study aims to shed light on the significance of choir as an art form that not only entertains but also enriches lives. In a hypothetical scenario, consider a group of individuals with diverse backgrounds and varying levels of musical experience coming together to form a choir. Initially, each member may possess differing skill sets and unique vocal qualities. However, through dedicated practice sessions under the guidance of a skilled conductor, they gradually learn to synchronize their voices and achieve a cohesive sound. As they progress, these singers begin to forge deep bonds with one another based on mutual appreciation for music-making. The unity achieved through shared goals and collaborative efforts demonstrates how choirs can serve as catalysts for personal growth and community cohesion. The Importance of Musical Notation in Choral Performance Imagine a choir rehearsing for an upcoming performance. Each member holds a sheet of paper covered in intricate symbols and lines, representing musical notation. As the conductor raises their baton, the singers start to produce beautiful harmonies that resonate through the room. This scene exemplifies the significance of musical notation in choral performance. Musical notation serves as a universal language that allows musicians to communicate and reproduce complex compositions accurately. It provides a visual representation of pitch, rhythm, dynamics, and expression within a piece of music. Without this standardized system, it would be challenging for singers to perform together cohesively and convey the composer’s intended message effectively. To illustrate further why musical notation is crucial in choral performance, consider the following examples: - Unity: Musical notation enables all members of a choir to sing from the same page figuratively and literally. With shared understanding and interpretation of notations such as key signatures or dynamic markings, ensemble cohesion is achieved. - Accuracy: Precise notations guide individual vocalists regarding specific pitches and rhythms they should sing at particular moments during a piece. This accuracy ensures that every singer contributes their part correctly, resulting in well-balanced harmonies. - Expression: Through markings like crescendo (gradually getting louder) or staccato (short and detached notes), composers use musical notation to indicate how performers should interpret certain sections emotionally. By adhering to these expressive indications on paper, choirs bring life and depth to their performances. - Efficiency: In rehearsal settings where time is limited, having access to written scores with clearly marked cues can facilitate swift learning processes for singers. They can quickly review passages or focus on specific areas needing improvement without relying solely on oral instructions. Embracing these benefits offered by musical notation enhances choral performances significantly. Therefore, it is essential for aspiring choral singers to develop notational literacy alongside their vocal skills. By understanding and effectively utilizing musical notation, singers can unlock the full potential of their voices and contribute to a harmonious ensemble. With an understanding of the importance of musical notation in choral performance, it is now crucial for singers to prepare their voices adequately to achieve excellence on stage. The subsequent section will delve into various techniques and exercises that help individuals develop vocal strength and flexibility necessary for choral singing success. Preparing Your Voice for Choral Excellence Discovering Harmony Through Vocal Ensemble: Preparing Your Voice for Choral Excellence Building upon the importance of musical notation in choral performance, it is essential to recognize that a strong vocal foundation plays a significant role in achieving excellence as part of a choir. By nurturing and Preparing Your Voice, you can contribute effectively to the collective harmony of the ensemble. Consider Sarah, an aspiring vocalist who joined her school’s choir last year. Initially, she struggled with maintaining pitch accuracy and blending with other singers. However, through consistent practice and guidance from her choral director, Sarah gradually developed techniques to support her voice and enhance her overall choral experience. This example illustrates how individual vocal preparation contributes to the success of the larger group dynamic. To achieve optimal results when singing within a choir, consider implementing these key practices: - Proper Breath Control: Focus on diaphragmatic breathing techniques to support sustained notes and maintain consistent tone quality throughout performances. - Vocal Warm-ups: Prioritize regular warm-up exercises tailored specifically for choral singing. These exercises help strengthen vocal muscles and improve flexibility. - Diction and Articulation: Pay attention to enunciation and clear articulation of words to ensure precision in conveying lyrics. - Listening Skills: Develop active listening skills by attentively tuning into fellow choir members’ voices. This fosters better blend, balance, and synchronization during rehearsals and performances. Furthermore, incorporating emotional elements into your choral training can deepen your connection both individually and collectively as performers. Consider the following examples: |Joy||Eliciting happiness or delight through uplifting melodies| |Serenity||Creating a sense of calmness or tranquility| |Passion||Evoking intense emotions through powerful dynamics| |Unity||Fostering a feeling of togetherness among choir members| By infusing these emotions into each performance, choirs can captivate audiences and create truly memorable experiences. In conclusion, a successful choral experience relies not only on musical notation but also on the individual vocal preparation of each choir member. By focusing on proper breathing techniques, warm-ups, diction, articulation, and active listening skills, singers can contribute to the harmonious ensemble. Moreover, incorporating emotional elements into performances adds an extra layer of depth and resonance. In our next section, we will explore some unforgettable moments from past choral performances that exemplify these principles. Unforgettable Moments: Highlights from Past Choral Performances Building upon the foundation of preparing your voice for choral excellence, we now delve into the transformative experience of discovering harmony through vocal ensemble. By blending individual voices together in perfect unison, choirs create a powerful musical force that transcends boundaries and captivates audiences worldwide. To illustrate this point, let’s consider the case study of a high school choir embarking on their journey towards artistic growth. In this hypothetical scenario, imagine a group of young singers coming together for the first time to form a choir. Initially apprehensive about singing in front of others, they quickly realize that by uniting their voices as one, they can achieve something greater than any solo performance could ever accomplish. As they begin rehearsing under the guidance of their skilled conductor, each member learns the importance of listening attentively to one another and adjusting their pitch and tone accordingly. Through countless hours spent refining their technique and harmonizing with precision, these aspiring choristers gradually develop not only their vocal abilities but also an unwavering camaraderie among themselves. Bullet Point List (evoking emotional response): - The exhilaration felt when all voices seamlessly blend together, creating a celestial sound that resonates deep within. - The overwhelming sense of accomplishment after months of dedicated practice culminate in a breathtaking choral performance. - The joyous atmosphere during rehearsals, filled with laughter and shared passion for music. - The profound connection established between members as they collectively express emotions through song. To further highlight the impact of choral ensemble work, let us examine its transformative power beyond personal development. Consider the following table showcasing various benefits experienced by individuals involved in choir: |Enhanced Emotional Well-being||Singing as part of a collective fosters feelings of happiness and belonging.| |Strengthened Social Connections||Choirs provide a supportive environment that nurtures friendships and teamwork.| |Improved Mental Health||Singing releases endorphins and reduces stress levels, promoting overall well-being.| |Enhanced Cultural Awareness||Through choral repertoire from different cultures, choir members gain appreciation for diversity.| In conclusion, the journey of discovering harmony through vocal ensemble is not merely about musical excellence but also about personal growth and connection with others. By joining voices in unison, individuals experience a transformative process that brings joy, emotional release, and a sense of belonging. In our subsequent section on “Exploring the Diverse World of Choral Music,” we will further explore the vast repertoire available to choirs and how it enriches their collective artistic journey. As we continue exploring the diverse world of choral music, let us delve into the captivating melodies that await those who embark on this extraordinary voyage together. Exploring the Diverse World of Choral Music Discovering Harmony Through Vocal Ensemble: Unleashing the Power of Collective Singing As we delve further into the world of choral music, it becomes evident that joining a choir is not just about singing together; it is an experience that allows individuals to discover harmony through vocal ensemble. This transformative journey offers countless opportunities for personal growth and musical exploration. To illustrate this, let’s consider the case of Sarah, a timid young singer who joined her local community choir. Sarah initially felt apprehensive about participating in group singing. However, as she began attending rehearsals and learning from experienced choristers, she gradually gained confidence in her own abilities. The power of collective singing became apparent when Sarah witnessed how each voice contributed to creating a harmonious whole. She discovered that being part of a choir was not only about blending voices but also synchronizing emotions, energy, and interpretation with fellow singers. To better understand the impact of vocal ensemble on individuals, let us explore some key aspects: - In a world where technology often dominates our interactions, choirs provide an avenue for genuine human connection. - By sharing a common goal and working towards it collectively, members form deep bonds with one another. - Choirs create an inclusive environment where everyone has a role to play regardless of age or background. - Through shared experiences during performances and rehearsals, friendships are forged that extend beyond the realm of music. - Music has the unique ability to evoke powerful emotions within us. - Singing in a choir amplifies this emotional resonance as individual voices merge into one unified sound. - The combination of melodies, harmonies, dynamics, and phrasing creates a captivating emotional tapestry that can move both performers and listeners alike. - Joining a choir provides individuals with opportunities for self-improvement and personal development. - Through regular rehearsals, singers refine their vocal techniques and expand their musical repertoire. - Choral performances challenge individuals to overcome stage fright and build confidence in their abilities. - The discipline required in maintaining pitch, rhythm, and dynamics fosters a sense of responsibility and commitment. This transformative power of choirs can be visualized through the following table: |Choir Benefits||Emotional Connection||Personal Growth||Social Integration| |emotions||self-expression||personal development||human connection| As we conclude this section on discovering harmony through vocal ensemble, it is evident that joining a choir goes beyond singing; it offers an immersive experience filled with emotional connections, personal growth opportunities, and social integration. In our subsequent section about “Mastering the Art of Choir Auditions,” we will explore how aspiring choristers can prepare themselves for this significant step towards becoming part of such a transformative musical community. Mastering the Art of Choir Auditions Building on our understanding of choral music, we now delve into the fascinating realm of its diversity. By exploring the various genres and styles within this art form, we can truly appreciate the richness that choral music offers. To illustrate this point, let’s consider a hypothetical scenario where an amateur choir seeks to incorporate different musical traditions in their repertoire. Imagine a community choir that aims to showcase cultural diversity through their performances. In order to achieve this goal, they decide to include pieces from around the world in their upcoming concert series. The choir director carefully selects compositions representing various regions such as Africa, Latin America, Asia, and Europe. Each piece not only exhibits distinct melodic patterns and rhythmic structures but also incorporates unique vocal techniques specific to its cultural origins. This deliberate exploration of diverse choral music allows the choir members and audiences alike to experience the beauty of global harmonies. To further highlight the range present in choral music, it is important to acknowledge the versatility within each genre itself. Whether it be classical or contemporary choral works, there exists a wide spectrum of sub-genres waiting to be explored. From powerful oratorios like Handel’s “Messiah” to intimate chamber choirs performing modern compositions by Eric Whitacre, every style brings forth a different emotional landscape for both performers and listeners. This vast repertoire provides endless possibilities for choirs seeking artistic growth and connection with their audience. Emotional Bullet Point List (markdown format): - Diversity fosters empathy and bridges cultural gaps. - Harmonizing voices from various backgrounds creates unity. - Exploring different genres expands musical horizons. - Cultural fusion through choral music celebrates human interconnectedness. A visual representation of how diverse choral music enriches our lives can be seen through a comparison table showcasing examples of various genres and their emotional impact: This table serves as a reminder that choral music transcends mere entertainment; it has the power to evoke profound emotions within us. Securing Financial Support for Your Choir’s Success As we have now explored the vastness of choral music, it is essential to recognize the importance of securing financial support. By obtaining adequate resources, choirs can continue to thrive and share their artistic endeavors with communities far and wide. Securing Financial Support for Your Choir’s Success Building upon the skills acquired during auditions, choirs must also navigate the financial landscape to ensure their success. Securing financial support is essential for a choir’s growth and development. By exploring various funding options and developing effective strategies, choirs can secure the necessary resources to thrive. One example of how choirs have successfully secured financial support is through community partnerships. Consider a case study where a local choir collaborated with a nearby business to host joint fundraising events. This partnership not only provided financial assistance but also increased visibility for both entities within the community. Such collaborations allow businesses to demonstrate their commitment to supporting local arts while providing choirs with much-needed funds. To effectively secure financial support, choirs should consider the following strategies: - Grant Writing: Researching and applying for grants from foundations or organizations that offer funding opportunities specifically tailored towards choral groups. - Sponsorship Programs: Developing sponsorship programs where individuals or businesses can contribute regular monetary donations in exchange for recognition or benefits such as advertising space in concert programs or on promotional materials. - Crowdfunding Campaigns: Utilizing online platforms to engage supporters and raise funds through individual contributions, allowing anyone passionate about music to make a meaningful impact. - Donor Appreciation Events: Organizing special events exclusively for donors as a way of showing appreciation and building long-term relationships with potential benefactors. - Increased access to quality musical education - Opportunity for personal growth and self-expression - Encouragement of creativity and artistic exploration - Promotion of cultural diversity and inclusivity Table – The Impact of Financial Support on Choirs’ Success: |Equipment||Upgraded sound systems||Enhanced audio quality| |Musical instruments||Improved performance capabilities| |Education||Vocal coaching||Enhanced technical skills| |Music theory workshops||Broadened musical knowledge| |Performances||Concert venue rentals||Expanded performance opportunities| |Marketing and advertising||Increased audience engagement and awareness| By securing financial support, choirs can access resources that fuel their growth and enable them to make a lasting impact in the community. As they continue to develop harmonious relationships with local businesses and explore diverse funding avenues, choirs lay a solid foundation for their continued success. Expanding Your Choral Repertoire: Tips and Recommendations Choir: Discovering Harmony Through Vocal Ensemble As the saying goes, “music is what feelings sound like,” and a choir brings those feelings to life through their harmonious voices. However, to ensure the success of your choir, securing financial support becomes crucial. By obtaining adequate funding, you can provide your singers with valuable resources and opportunities that will enhance their musical journey. To illustrate the importance of financial support, let us consider the case study of Harmony Chorale. Struggling with limited funds initially, they were unable to afford professional vocal coaches or purchase new sheet music regularly. Consequently, their performances lacked polish and variety. Realizing this hurdle, the choir embarked on a mission to secure financial assistance. There are several avenues available to choirs seeking financial support: - Grants: Research and apply for grants offered by local arts organizations or foundations dedicated to promoting cultural activities. - Sponsorships: Seek sponsorships from businesses or community members who may be interested in supporting artistic endeavors. - Fundraising Events: Organize fundraising events such as concerts, bake sales, or online campaigns where supporters can contribute financially. - Collaborations: Partner with other organizations or schools to showcase joint performances and share costs associated with organizing concerts. Table (in markdown format): |Grants||– Provides substantial funding||– Highly competitive process| |Sponsorships||– Builds partnerships within the community||– Requires ongoing relationship maintenance| |Fundraising Events||– Engages both performers and audience||– Time-consuming organization| |Collaborations||– Shares costs and broadens audience reach||– Coordination efforts| By pursuing these various funding opportunities, choirs open doors for their singers’ growth and development. Adequate financial support allows choirs to: - Hire professional vocal coaches or music directors to refine their technique. - Purchase new sheet music regularly, exposing singers to a wider repertoire of musical styles. - Attend workshops, festivals, or competitions that offer valuable learning experiences and opportunities for collaboration. - Invest in quality equipment, such as microphones or sound systems, to enhance the overall performance experience. Securing financial support is an essential step towards ensuring your choir’s success. By actively seeking grants, sponsorships, organizing fundraising events, and exploring collaborations, you can provide your singers with the resources they need to thrive. Financial assistance enables choirs to invest in training, expand their repertoire, participate in enriching events, and ultimately create remarkable performances that resonate with both performers and audiences alike. Transition into next section – Enhancing Vocal Skills: Effective Warm-up Techniques: With the necessary funding secured for your choir’s success, it is time to focus on enhancing vocal skills through effective warm-up techniques. Enhancing Vocal Skills: Effective Warm-up Techniques Imagine a choral ensemble performing an exquisite rendition of Mozart’s “Requiem,” captivating the audience with its rich harmonies and emotional depth. As a choir director or member, you may wonder how to expand your repertoire and explore new musical possibilities. In this section, we will delve into some tips and recommendations for expanding your choral repertoire, allowing you to create diverse and compelling performances. To begin, consider incorporating music from different genres and time periods. By including pieces from various styles such as classical, contemporary, gospel, or folk, you can offer a unique listening experience that appeals to a wide range of audiences. For instance, imagine blending traditional choral arrangements with modern pop songs like Pentatonix does in their groundbreaking acapella renditions. This fusion not only showcases versatility but also attracts younger generations who might otherwise be unfamiliar with choral music. Additionally, seek out collaborations with other musicians or ensembles. Partnering with instrumentalists or vocal soloists can add layers of complexity and excitement to your performances. Picture a collaboration between a choir and a local symphony orchestra, where the combined forces bring forth grandeur and intensity in works like Beethoven’s Ninth Symphony. Such collaborations not only elevate the overall sound but also foster meaningful connections within the artistic community. Furthermore, embrace multiculturalism by exploring music from different ethnic backgrounds. Incorporate songs sung in foreign languages or inspired by cultural traditions into your repertoire. This offers an opportunity for both performers and listeners alike to appreciate the beauty of diversity while broadening their understanding of global musical heritage. - Include music from different genres (classical, contemporary) - Collaborate with other musicians - Embrace multiculturalism through diverse song choices By implementing these strategies in expanding your choral repertoire, you can unlock endless possibilities for creating inspiring performances that resonate deeply with both performers and audiences alike. Creating Memorable Choir Concert Experiences Section H2: Enhancing Vocal Skills: Effective Warm-up Techniques As the foundation of a successful choir, enhancing vocal skills through effective warm-up techniques is crucial. By providing singers with the tools to properly prepare their voices before rehearsals and performances, choirs can achieve greater harmony and precision in their sound. Now, let’s explore some essential warm-up techniques that can help elevate your choir’s vocal abilities. Section H2: Creating Memorable Choir Concert Experiences Imagine this scenario – it’s concert night, and anticipation fills the air as the audience eagerly awaits the performance of a renowned choir. The lights dim, and the conductor steps onto the stage. What follows is not just an ordinary choral presentation but rather an unforgettable experience that leaves a lasting impact on everyone present. In this section, we will delve into how you can create such memorable choir concert experiences by weaving together various elements seamlessly. - Crafting Engaging Repertoire: Selecting repertoire plays a pivotal role in determining the success of a choir concert. When choosing pieces for your program, consider finding a balance between familiar favorites and lesser-known gems to keep your audience engaged throughout the performance. Additionally, incorporating diverse musical styles or exploring works from different cultures can add depth and resonance to your overall presentation. - Emotional connection - Variety in genres - Cultural representation - Challenging yet accessible arrangements |Emotional Connection||A heartwarming ballad that evokes nostalgia| |Variety in Genres||An energetic gospel piece followed by a serene classical composition| |Cultural Representation||Traditional folk songs from different regions around the world| |Challenging Yet Accessible Arrangements||Complex harmonies layered with simple melodies| Aesthetics play a significant role in creating impactful concert experiences. Consider utilizing visual elements such as staging, lighting effects, and synchronized movements to enhance the overall visual appeal of your choir’s performance. Carefully choreographed formations or simple gestures can add another layer of meaning to the music, capturing the audience’s attention and immersing them in the artistic journey. Collaborations and Guest Artists: To add an extra dimension to your concert experience, consider collaborating with other musicians or inviting guest artists to perform alongside your choir. This allows for unique musical interactions and can introduce fresh perspectives that enrich the overall performance. Whether it be a soloist showcasing their virtuosity or a joint performance with a local orchestra, these collaborations create moments of awe and inspiration for both performers and listeners alike. Incorporating dynamic warm-up techniques lays the foundation for exceptional choral performances, but it is through creating memorable concert experiences that choirs truly captivate their audiences. By carefully selecting engaging repertoire, leveraging visual presentation elements, and embracing collaborative opportunities, you can unlock the full potential of your choir’s collective talent. In our next section, we will delve into the art of unlocking the power of sheet music interpretation – a crucial step towards achieving nuanced and expressive performances that resonate deeply with both performers and audiences. Unlocking the Power of Sheet Music Interpretation Having discussed the importance of creating memorable Choir Concert Experiences, we now turn our attention to another crucial aspect of choral singing – the transformative power of vocal technique. By honing their technical skills, singers can unlock new levels of expressiveness and elevate their ensemble’s performance to truly captivating heights. To illustrate this point, let us consider the hypothetical case study of a community choir struggling with intonation issues. Despite having talented members, their performances often lacked precision and cohesion due to inconsistent pitch accuracy. However, through dedicated training in vocal technique under the guidance of an experienced conductor, the choir began to experience significant improvement in their overall sound quality. The systematic approach to breath control, vowel placement, and resonance helped address individual challenges and fostered a collective understanding of achieving harmonious blend. As a result, their audience was captivated by the newfound clarity and unity exhibited in subsequent performances. The transformative power of vocal technique lies not only in its ability to enhance ensemble cohesion but also in its capacity for emotional expression. A well-trained singer possesses greater control over dynamics, tone color, and articulation – tools that enable them to convey nuanced emotions effectively. This heightened expressive range allows choirs to authentically interpret diverse repertoire across genres and time periods. Whether it be evoking deep introspection through a tender ballad or instilling joyous exuberance during an uplifting gospel piece, skilled use of vocal technique empowers choirs to touch hearts and create lasting connections with their listeners. - Evokes profound emotive responses - Enables connection beyond language barriers - Facilitates storytelling through music - Inspires empathy among performers and audiences alike Furthermore, recognizing the significance of vocal technique within choral singing necessitates targeted pedagogical approaches that prioritize individual growth and collective development. By investing resources in workshops, masterclasses, and ongoing vocal training programs, choirs can consistently refine their technical skills while fostering a culture of continuous improvement. This commitment to excellence not only elevates the overall musicianship within the ensemble but also engenders a deep sense of pride and fulfillment among its members. |Enhanced blend||Vocal technique promotes unity through improved control of pitch accuracy| |Expanded expressive range||Skills such as dynamics and articulation enable nuanced emotional expression| |Heightened audience connection||Authentic interpretation creates meaningful connections with listeners| |Cultivation of musicality||Ongoing pedagogical approaches foster continuous growth and excellence| As we have delved into the transformative power of vocal technique, it is clear that choral singing encompasses much more than simply performing beautiful music. Next, let us explore innovative approaches to choir funding, which play a crucial role in sustaining these enriching musical experiences for both performers and audiences alike. Innovative Approaches to Choir Funding Choir: Discovering Harmony Through Vocal Ensemble Building upon the importance of sheet music interpretation in choral performance, choirs can enhance their musicality and deliver powerful performances by utilizing various techniques. Understanding how to unlock the power of sheet music interpretation allows singers to delve deeper into the emotional essence of a piece and convey its meaning effectively. One approach is through dynamic phrasing. By carefully analyzing the structure and dynamics indicated in the sheet music, choirs can create contrasts that amplify the impact of certain passages. For instance, imagine a choir performing Handel’s “Hallelujah Chorus” from Messiah. The conductor guides them to emphasize specific words or phrases within each section, highlighting both their individual significance and contributing to the overall message of joy and triumph. In addition to phrasing, attention to articulation plays a vital role in conveying emotion. Varying degrees of legato, staccato, or accents add texture and depth to a performance. Choirs can experiment with different articulations during rehearsals until they find what best expresses the desired mood or atmosphere. This deliberate exploration enhances their ability to communicate effectively with audiences on an emotional level. To further illustrate these principles, consider the following four-point guide: - Phrasing: Creating contrast through changes in volume, tempo, or intensity. - Articulation: Utilizing varying degrees of legato, staccato, or accentuation. - Dynamics: Emphasizing softness or loudness for dramatic effect. - Subtleties: Exploring nuances such as rubato or fermata for added expressivity. By implementing these techniques when interpreting sheet music, choirs tap into hidden layers beneath mere notes and lyrics—unleashing emotions that resonate deeply with listeners. To better visualize this impact, let us explore it through a table showcasing contrasting aspects used in two well-known choral pieces: |Choral Piece||Mood/Emotion Conveyed| |Mozart’s Requiem||Elegance intertwined with sorrow| |Verdi’s Va, pensiero (Chorus of the Hebrew Slaves) from Nabucco||Yearning for freedom and hope amidst oppression| As choirs continue their journey towards musical excellence through sheet music interpretation, they can also explore lesser-known choral pieces that offer unique challenges and rewards. By delving into these hidden gems, choirs expand their repertoire and provide audiences with fresh experiences, enhancing both their own growth as performers and the appreciation for diverse choral works. Unveiling Hidden Gems: Lesser-Known Choral Pieces As we delve further into the world of choral music, it becomes evident that its power lies not only in the diverse ways choirs can be funded or in uncovering hidden gems of repertoire but also in the transformative nature of vocal ensemble itself. Through harmonious collaboration and shared artistic expression, choirs have the ability to evoke a profound emotional response among both performers and audiences alike. Imagine a choir rehearsal where individuals from all walks of life come together with their unique voices to create something greater than themselves. This collaborative effort fosters a sense of unity and belonging as singers work towards a common goal – producing beautiful music. One example is the renowned Harmony Choir, which consists of members ranging from high school students to retirees. By embracing diversity and acknowledging individual strengths, this choir has been able to achieve remarkable musical cohesion. To truly understand the impact of vocal ensembles, let us explore some key factors that contribute to this emotional resonance: - Shared experience: Singing in harmony allows individuals to connect on an intimate level through shared emotions and experiences. - Sense of community: Being part of a choir nurtures a strong sense of camaraderie, providing social support and fostering lasting friendships. - Expressive outlet: For many singers, being part of a vocal ensemble offers an opportunity for self-expression and catharsis, allowing them to convey emotions they might struggle to articulate otherwise. - Aesthetic beauty: The sheer beauty and power of well-executed choral music has the capacity to move listeners profoundly. Embodying these elements is crucial when exploring the potential impact that choral music can have on our lives. To illustrate this further, consider the following table showcasing different emotional responses elicited by various styles within choral music: By embracing the diverse range of emotions that choral music can evoke, we open ourselves up to a world of artistic exploration and personal growth. Through vocal ensemble, individuals are not only able to discover harmony in their voices but also within themselves. In this section, we have examined how choirs possess the ability to create emotional resonance through shared experiences, community, self-expression, and aesthetic beauty. The transformative power of vocal ensembles is undeniable, as they provide a platform for both performers and audiences to connect on a deep level. As we continue our journey into the realm of choral music, let us now turn our attention towards uncovering lesser-known choral pieces that deserve recognition and appreciation.

<urn:uuid:d204cf0c-3531-4a08-b6ed-f8a7757e8000>

CC-MAIN-2023-40

https://philmintonsferalchoir.com/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233511053.67/warc/CC-MAIN-20231003024646-20231003054646-00472.warc.gz

en

A growing body of research shows that noise can be harmful to humans and animals. Can natural quiet be saved? “Only by going alone in silence … can one truly get into the heart of the wilderness,” naturalist John Muir wrote in 1888. One of the country’s earliest conservation advocates, Muir understood the power of quiet to connect people to nature and calm the anxious mind. But could he have foreseen how rare such silence would be 130 years later? For humans, finding natural quiet — periods of natural sounds without the intrusion of human-made noise — has become increasingly difficult. Today, around 80% of land area in the contiguous U.S. is less than a mile from a road. Tens of thousands of flights hum across the skies each day. In oceans, ships drone, and military sonar pulses. Our phones won’t stop pinging. Research has shown that the modern whir not only affects the behavior of wild animals, it’s also making us sick. High noise levels have been linked to heart disease, stroke, sleep disturbance and reduced workplace productivity. A 2011 World Health Organization report suggested that traffic noise significantly cut healthy life expectancy among Western Europeans. In recent decades, concerns over the loss of quiet have spurred a growing coalition of ecologists, technicians, researchers and advocates to push for change. Among them is Gordon Hempton, an activist and natural sound expert, who has been sounding alarms about the toll of noise for more than a dozen years. In 2005, to help raise awareness, he created “One Square Inch of Silence,” an independent project in Olympic National Park that designated a mossy grove in the Hoh Rain Forest as the least noise-polluted spot in the lower 48 states. There, Hempton’s sound meters hit 26 decibels (quieter than rustling leaves), one of the lowest readings he’d seen in decades of recording soundscapes around the world in places from Hawaii to Sri Lanka. With the launch of Quiet Parks International in 2019, Hempton’s advocacy efforts have expanded well beyond One Square Inch of Silence, which he’d come to view as too regional. “Our goal is to make quiet a choice for most of the world’s population,” he said. In April, the new organization named its first official Wilderness Quiet Park: Zabalo River in the Ecuadorian Amazon. The indigenous Cofán people, who own the land, welcomed the certification. The QPI team — a volunteer force of experts in various sound-related fields — has flagged 262 parks across the globe that could qualify for quiet status. It hopes to send audio crews to each park to do a series of standardized tests and officially certify sites that meet minimum desired levels of natural quiet. (The QPI benchmark is a 15-minute, noise-free interval of pristine natural sound on three consecutive mornings.) The quiet places identified by QPI include more than 30 sites within the U.S. National Park System. In the fall, the group sent Matt Mikkelsen, an audio engineer, to Great Sand Dunes National Park & Preserve in Colorado for four days to begin testing. Promising early results suggest the park could become the country’s first official quiet park — Mikkelsen recorded noise-free intervals in the park of nearly one hour, a remarkable span of quiet — though QPI hit a bump a few weeks later, when park staff abruptly switched course and backed out of the project. “Great Sand Dunes is not pursuing the ‘quiet’ designation at this time in order to focus our efforts on other park priorities,” spokesperson Katherine Faz said in an email. The QPI team was disappointed but plans to move ahead anyway with further testing that could lead to certification, Mikkelsen said. The Park Service’s reasoning behind the Great Sand Dunes decision remains hazy, but the agency — whose Natural Sounds and Night Skies Division has been monitoring soundscapes in parks for nearly two decades — has long considered quiet a resource worth protecting. Congress has explicitly declared the importance of managing noise in parks in multiple pieces of legislation, and many park planning projects incorporate evaluation of noise and soundscape conservation. In addition, data collected by the natural sounds division since the early 2000s — including 1.5 million hours of field recordings in nearly 500 locations in park sites — have helped bring the problem of noise into sharper focus. A joint study by the Park Service and Colorado State University, published in “Science” in 2017, found that manmade noise doubled background sound levels in a majority of U.S. protected lands and caused a tenfold increase in 21% of those lands. Also, in 12% of wilderness areas — which make up 53% of the park system and are the most protected public lands in America — noise pollution doubled natural ambient sound levels. “That was especially surprising,” said Rachel Buxton, an ecologist formerly at Colorado State who led the research. “Wild areas have no development — by legislation, they can’t. That’s telling you there are impacts from noise coming from outside those areas.” Along with road and air traffic, she said, oil and gas extraction are pumping noise into wilderness areas. Jesse Barber, a Boise State University researcher whose lab studies how humans affect ecosystems, said that noise could be contributing to the world’s tumbling biodiversity, though further study is needed. “It’s likely that noise is another stressor on wildlife, on top of everything else, that is changing distributions of populations,” he said. His team’s research suggests that highway and gas field noise can drive songbirds away from crucial habitats, and that noise could interfere with the hunting success of bats and owls. Even simple changes can alter people’s thinking about sound, Barber said. He pointed to a 2015 study at Muir Woods National Monument, where his team posted library-style “quiet” placards in the redwood forest. The signs succeeded in reducing noise, leading to higher visitor enjoyment linked, in part, to the increased presence of birds and birdsong. “The heart of it is that noise is a problem we know we can solve,” Barber said. Buxton’s team, which concluded in a recent follow-up study that U.S. national park lands are much quieter overall than other types of protected areas, suggested that shuttle systems, speed limits and spatial planning — including “quiet zones” like the one in Barber’s experiment — could help parks directly manage noise. Technology may offer additional solutions. Kurt Fristrup, a senior Park Service acoustician who contributed to the research, cited the climbing sales of electric vehicles, which are nearly silent at low speeds. Buxton said that noise-absorbing pavement is being tested on roads in some protected areas, including Death Valley National Park. But noise emanating from outside of parks, from sources such as jets and industrial equipment, is harder to curb. And Fristrup worries that humans are being conditioned to expect a constant flow of sounds. “We’ve developed a culture of supplying our own soundscape,” he said, noting the prevalence of earbuds on hiking trails. “It’s important to put away those things we use in urban environments and learn to listen attentively again.” At the four national park sites below, all noted by QPI and others for the depths of quiet there, visitors can experience a wide array of natural sounds, from the wailing of coyotes to the surge of surf. Even at these refuges, however, quiet can be elusive, and preserving the soundscapes within them is far from simple. Olympic National Park, Washington Brandon Kuehn first experienced deep quiet on a big rock in the middle of a stream. He’d come to Olympic National Park to get away, after six years of active duty in the U.S. Army. “For the first time in a long time, there was just no noise,” he said. “I ate my lunch, lay back, and next thing I know an hour and a half had gone by.” That same day, as he hiked back to his car, his calm was shattered when a Navy jet blasted overhead. “It was so disturbing and annoying, the fact that it was in a park, where you’re not expecting anything like that,” he said. Since the 1940s, the naval air station on Whidbey Island, just northeast of the Olympic Peninsula, has run training exercises, but activity has ramped up in recent years. In the mid-2000s, Hempton hoped Olympic would become the first U.S. quiet park. But since then, commercial and military overflights have surged, making the designation less certain. And with the Navy’s switch to new “Growler” fighter jets, which produce a low-frequency rumble, the noise has only intensified. “It’s like a baritone,” said Shele Kinkead, an activist who tracks the flyovers for local anti-noise groups. “It travels and bounces. Over my house, we hear it rumbling up and down the riverbed.” In her community of Forks, she has taken readings of jet noise as high as 93.7 decibels — like standing next to a running lawnmower. Federal plans to expand the region’s Growler numbers from 82 to as many as 118 have caused an outcry. Though the Navy took public comments and released an environmental impact statement, critics say that report, which claims there are no significant harmful effects from the noise, omits obvious facts. “They use a lot of averages, saying there’s only a small percentage of the day when anyone will hear them,” said Rob Smith, NPCA’s Northwest regional director. “But that ignores people’s real experience. People are coming to find nature, and it sounds like an airport.” In 2019, NPCA filed a lawsuit under the Freedom of Information Act to compel the Navy to release documents relating to its training flights near and above Olympic. Overall, parts of the park are still “exceptionally quiet,” Mikkelsen said. Hempton has made noise-free sound recordings in spots beyond the Hoh Rain Forest, including inside giant, hollowed-out Sitka spruce logs on the park’s beaches. But though visitors might enjoy lengthy spans without disruption, many say a single high-level noise event can be rattling. “It takes a little while to leave the city behind,” Smith said. “When that’s interrupted, it’s like going back to reset again.” Larry Morrell, executive director of Sound Defense Alliance, a citizens group, said many of those affected by the noise respect the Navy’s interests but are looking for compromise. Training could be moved farther from protected lands to an air base in Idaho, for instance. “We’re trying to get folks back in Washington, D.C., to look at the issue a little differently and give us all some relief,” Morrell said. Another 2019 lawsuit may force the issue: The state’s attorney general is alleging that the Navy violated the National Environmental Policy Act by failing to gather adequate data on public health and wildlife impacts from noise. Mike Welding, a Navy public affairs officer, said the cost and logistics of training elsewhere are prohibitive, and that no other locations in the Pacific Northwest offer comparable geography or airspace. The Navy is currently reviewing public comments on a draft supplemental environmental impact statement that will be released in summer of 2020, he added. Locals are divided over the jets: Some cite the importance of the military, or say local economies benefit from Navy jobs. But Kuehn, who still hikes often in Olympic and also runs outdoor programs for fellow veterans, said the public dialogue has softened. “People are realizing that being against training in these areas isn’t anti-American,” he said. “We’re trying to preserve what we fought for.” Rainbow Bridge National Monument, Utah The pink sandstone arch at Rainbow Bridge National Monument, which spans 275 feet, is among the largest known natural bridges in the world. And like all rock formations, it turns out, the bridge has a voice. Jeff Moore, a geophysicist, and his team from the University of Utah have used seismometers to “listen” to rock features in several parks, including Bryce Canyon and Arches National Parks, and found that each feature has a distinct set of low-frequency tones. “They’re constantly humming and rumbling,” Moore explained, comparing the landforms to guitar strings. The vibrations are caused by the subtle quivering, bending and twisting of the arch; with high-tech assistance, humans can hear and experience the sounds those movements produce. In 2015, Moore and his team used the same seismic methods at Rainbow Bridge to study the effects of vibrations from sources such as wind and aircraft. Moore described a multitude of minor stressors, from truck traffic to distant gas drilling to wave activity on nearby Lake Powell, that could potentially act on the giant arch. “What’s the effect of one hundred of those events? One thousand?” he wondered. Moore was asked to do the vibration risk assessment after the Native American Consultation Committee, a group that’s been advising Rainbow Bridge managers since the early 1990s, raised concerns about damage from noise emitted by helicopter tours. Since long before it was claimed by white explorers in 1909, the bridge has been a sacred site for the Paiute, Navajo, Hopi, Ute, Zuni and other tribes, who frequently hold ceremonies and events there. Moore’s data showed that Rainbow Bridge, due to its massive size, has a natural frequency of around 1 hertz, which is well below frequencies that would resonate — or vibrate in tandem — with a helicopter. But the flights might affect smaller slabs or columns, which have higher frequencies, Moore said, and the bridge’s integrity could potentially be harmed over time. He suggested that the Park Service pursue the creation of a no-fly zone around the arch; local air tour operators agreed to the restriction in 2018. Pete Mcbride’s time-lapse composite photograph shows what a day of traffic looks like inside the Grand Canyon. He captured 160 individual flights during an eight-hour period. © PETE MCBRIDE PHOTOGRAPHY Such voluntary agreements are rare; commercial air tours are a sticky issue in parks, since the Park Service doesn’t control the skies over park lands. Although the National Parks Air Tour Management Act of 2000 requires park officials to draw up joint plans with the Federal Aviation Administration, only four park sites have managed to settle details with the agency. More than 100,000 air tours buzzed over the Grand Canyon in 2017, according to a Park Service report the following year. Rainbow Bridge recorded around 1,500 tours in 2018. Fristrup, of the natural sounds division, suggested electric aircraft, which are up to a thousand times quieter than conventional planes, could help solve the problem. “Electric propulsion could make our cities, not just our parks, much quieter,” he said. “And parks could be a principal driver for those benefits.” Haleakalā National Park, Hawaii Rising 10,000 feet above sea level, the Haleakalā volcano has special significance in Hawaiian culture as “wao akua,” a realm of the gods. “All tall mountains are sacred,” said Hōkūlani Holt, a hula master and director of Ka Hikina O Ka Lā (a culture and science program) at University of Hawaiʻi Maui College. Accordingly, Native Hawaiian practices dictate that humans shouldn’t linger at the volcano’s summit or be loud or disruptive. Quietly experiencing the “majesty of the place” shows respect, Holt said. Unfortunately, honoring those practices is complicated at a busy national park. Every year, many thousands of visitors drive up the steep, winding Crater Road to watch the sunrise from the volcano rim. Such crowds, of course, can be noisy. “Modern man sometimes has a real difficulty with silence,” Holt said. In a park survey, visitors cited the desire to avoid loud park-goers and aircraft as their two main reasons for embarking on an overnight backcountry trip, and they often find what they are looking for in the park’s remote areas. Relatively few people venture far down into the 3,000-foot depression (though often called a crater, it was formed by erosion, not an eruption), which is rumored to be one of the quietest places on Earth. Linette King, the park’s environmental protection specialist, explained that the crater’s shape insulates hikers from wind and disturbances. “It’s a natural barrier to protect the sounds people experience,” she said. Elevation plays a role, too, and some believe the ashy, lunar-like volcanic soil dampens sound. A 2012 acoustical monitoring report by the Park Service noted ambient sound levels on Sliding Sands Trail as low as 10 decibels, quiet enough to hear breathing from 3 meters away. King has camped overnight in the crater several times. “You can see the Milky Way,” she said. “You hear nothing or a slight wind sound, and birds that are active at night. It’s a unique and calming experience.” Nearly 75% of the roughly 33,000-acre park, including the volcano and parts of the coastal Kīpahulu rainforest area, is designated wilderness. Construction and use of mechanical equipment are strictly limited in those places, which means less noise and fewer noise management challenges. “At the Summit District, we have one road in, one road out,” said Jin Prugsawan, the chief of interpretation. Mikkelsen will record the silence firsthand when he visits the park for initial QPI testing at the end of the year. As always, air traffic may interfere; helicopters and tour planes are not permitted to go over the crater, but they often fly close to the rim. A report by the Park Service using data from 2013 noted aircraft noise in the park 25% of the time during three hours of testing spread out over eight days. Holt said that the relationship between the Park Service and Native Hawaiians is sometimes tense, but she is grateful for the park’s efforts to monitor commercial air tours, which have resulted in longer stretches of silence despite the absence of an official agreement.“You are now able to enjoy and be moved by Haleakalā,” she said, “when it’s not being affronted by that sound.” Katahdin Woods and Waters National Monument, Maine As my research into quiet deepened, so did my listening: I was struck by noise I wasn’t used to noticing — car horns from blocks away or the hum of the fridge — and soon I was seeking natural quiet myself. On the QPI map, I chose a site relatively close to my home in Boston: Katahdin Woods and Waters National Monument, an 87,500-acre park in northern Maine that was designated in 2016. I knew I’d be following in the wake of Henry David Thoreau, whose route along the East Branch of the Penobscot River is largely preserved within the monument. When the author paddled through Maine in 1846, sounds marked his entry into the wild. “The roar of the rapids,” he wrote, “the note of a whistler duck on the river, of the jay and chickadee around us, and of the pigeon woodpecker in the openings, were the sounds that we heard. This was what you might call a bran-new country. …” Northern Maine’s population has grown relatively slowly since the late 1800s. With limited residential development and few roads, over 3 million acres of the state’s forestland — the biggest such swath in the region — have remained largely unfragmented, even though logging is commonplace. The forest is a breeding ground for songbirds and home to a large population of Canada lynx. It also provides people chances to escape into untrammeled nature. When I arrived at the monument with my wife in August, the quiet was a welcome shock for both of us. Driving on rutted logging roads, our crunching wheels spooked owls, spruce grouse and rabbits from the road edge. For 10 miles, we didn’t pass another car. Near one of Thoreau’s campsites at the northern tip of the monument, where the Old River ran dark and translucent like tea, I opened the decibel meter app on my phone. Around 33 decibels — fairly quiet, but not much more than our apartment on a tranquil day. Within 10 minutes, I heard a commercial airliner. You can read this and other stories about history, nature, culture, art, conservation, travel, science and more in National Parks magazine. Your tax-deductible membership donation of $25 or more entitles…See more › Farther down a wooded trail, though, my wife grabbed my arm. The cicadas had stopped humming, and even the murmur of water suddenly died down. On my phone, the readings flickered around 28 decibels. We looked at each other wide-eyed. Our own square inch of silence. Later, readings I took by Sandbank Stream campground, at the edge of a marsh, were almost as low. On our way back from Barnard Mountain, a woman showed us photos she had just taken of a moose. We crossed our fingers, and half a mile down the trail, there he was — chocolate brown and huge, with velvet antlers. As we watched him, I had to wonder: If the area were noisier — with more cars or more chatting hikers — would the bull have lingered on the exposed trail in mid-afternoon? He nosed toward us, seemingly curious. Then he turned his bulk toward the trees and, improbably, vanished without a sound. Quiet Parks International has flagged 262 parks across the globe that could potentially qualify for certification as official quiet parks. The organization’s list includes the U.S. national park sites on this map. Please click to hear recordings provided by quiet activist Gordon Hempton. About the author Dorian Fox is a writer and freelance editor whose essays and articles have appeared in various literary journals and other publications. He lives in Boston and teaches creative writing courses through GrubStreet and Pioneer Valley Writers' Workshop. Find more about his work at dorianfox.com.

<urn:uuid:1b170ae3-30b7-4eda-8d02-fc0ec6a3b171>

CC-MAIN-2023-40

https://www.npca.org/articles/2391-hush

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510501.83/warc/CC-MAIN-20230929090526-20230929120526-00774.warc.gz

en

Last updated: 21 Sep 2023 Young people are central in achieving a more sustainable and healthier planet. Youth have repeatedly demonstrated their willingness and capacity to address environmental and climatic challenges through innovative ideas, demanding policy- and decision-makers for bolder action through advocacy. Meaningful and effective inclusion of young people in environmental action and decision is not only a duty as they represent an important part of the demography and disproportionately bear the consequences of the triple planetary crisis. Doing so ensures better, more resilient, inclusive and sustainable decisions that will have long-term impacts. Youth and the Environment Although no universally agreed international definition of the youth age group exists, the United Nations refers to youth as people aged from 15 to 24. Today, there are 1.2 billion young people aged 15 to 24 years, accounting for 16 percent of the global population. By 2030, the number of youth is projected to have grown by 7 percent, to nearly 1.3 billion. In less than 10 years, when humanity is supposed to deliver the Sustainable Development Goals (SDGs), it will be people that are currently young and those entering in their youth years that will be bearing the fruits of current environmental and climate decisions and suffer or enjoy their consequences the most. Young people are not only victims of the environmental and climate crises, they are powerful actors and agents of change that contribute to achieving a more sustainable planet, SDGs, equality and respect of human rights. Humanity depends on the boundless energy, ideas and contributions of youth everywhere. Today and every day, let’s support and stand with young people in shaping a just and sustainable world, for people and planet. — UN Secretary-General António Guterres Young people have helped reshape the global climate debate because they know that they’ll be the ones that could inherit a broken planet — Inger Andersen, UNEP Executive Director More Resources and News - Six Portuguese youth take 32 nations to European court over climate change| Al Jazeera | 21 Sep 2023 - With TikTok and Lawsuits, Gen Z Takes on Climate Change | The New York Times | 19 August 2023 - As record warming tests climate goals, young people’s ‘green skills’ may help save the planet | UN News | 12 August 2023 - Why Are Green Skills Important for Youth? | UNFCCC | 11 August 2023 - International Youth Day: It’s time to empower youth with skills for the future | World Economic Forum| 11 August 2023 - Indigenous Youth Can Boost the Transition to a More Sustainable world UNFCCC | 9 August 2023 - Placing meaningful youth engagement at the heart of environmental action | UNDP | 2 June 2022 - Involving young people meaningfully in climate action is essential | UNDP | 1 June 2022 - Charting a youth vision for a just and sustainable future | Stockholm Environment Institute and Council on Energy, Environment and Water (CEEW) | 2022 - Why children and youth hold the key to a sustainable future | UNEP | 25 January 2022 - Intergenerational inequities in exposure to climate extremes | Wim Thiery, Stefan Lange, Joeri Rogelj et al., | Science | 26 Sep 2021 Youth and the Triple Planetary Crisis The triple planetary crisis of biodiversity loss, climate change and pollution affects everyone, but with half of the global population being under the age of 30, the youth is not only the most affected and for the longest part of their lives. It is also less implicated in decision-making processes in response to the triple planetary crisis. Nevertheless, young people from across the world have demonstrated a great sense of awareness, willingness to act and ingenuity in developing solutions to these crises. Young people have demonstrated a highly vested interest in halting biodiversity loss and making conservation more equitable, inclusive and sustainable. Since 2012, the Global Youth Biodiversity Network contributes and participates to the Convention on Biological Diversity (CBD) processes through advocacy and policy papers on their vision of biodiversity loss governance and instruments and with proposals on how to transform education to discipline young people and future generations on the protection of biodiversity. A global survey published in the Lancet found that 59% of young people and children are very or extremely worried and 84% are at least moderately worried. With half of these young people expressing feelings like sadness, anxiety, anger, powerlessness, helplessness, and guilt; climate change negatively affects their daily life and functioning. As a consequence, it is common among young people to lack trust in governmental action over climate change. Young people have demonstrated a vast array of reactions to this situation. From joining a global partnership of young people asking for more concrete climate actions to their governments through the Friday’s for the Future Movement to climate litigation cases, young people have raised awareness at local and global levels on the most urgent problem facing humanity. Young people are also promoters of lifestyle changes and concrete solutions and advocates for the rights of vulnerable groups, including Indigenous people, who are often excluded from decision-making. Youth is also present in and vocal about official climate change negotiations. Through the organization of parallel events, interventions, and related actions, young people continue advocating for a more enabling environment for children and young people to access and contribute to decision-making processes and for their voices and inhibit equal access. → More information is provided below in the section Youth @ Climate COPs. Young people are affected by air, soil, water and waste pollution. Oftentimes, young people end up working in informal waste collection and in agricultural settings where high levels of pesticides are used, risking their health and futures. Young people also represent an important part of consumers, which choices to consume less and better can drastically impact the level of waste pollution generated. Youth is highly engaged in pollution discussions and debates, as demonstrated by the creation of the Global Youth Coalition on Plastic Pollution (GYCPP) on the eve of the Intergovernmental Negotiating Committee on Plastic Pollution; the active participation on chemicals related processes and negotiations were seen through the Major Group for Children and Youth (MGCY) Chemicals and Waste Platform. Youth and Human Rights Young people face discrimination and obstacles to the enjoyment of their rights by virtue of their age, limiting their potential. The human rights of youth, therefore, refers to the full enjoyment of fundamental rights and freedoms by young people, including the right to a clean, healthy and sustainable environment. Promoting these rights entails addressing the specific challenges and barriers faced. The Office of the High Commissioner for Human Rights (OHCHR) report on youth and human rights (A/HRC/39/33) documents the discrimination and some of the challenges for young people in accessing civil, political, social, economic and cultural rights. Examples include: participation in political institutions and decision-making; access to the world of work and be granted decent and protected working conditions and wages; access to health. Young people from across the world are also often engaged in environmental protection and climate disobedience. Young environmental human rights defenders who promote human rights relating to the environment, including water, air, land, flora and fauna, are highly vulnerable and under attack across the globe. Evidence suggests that as the climate crisis intensifies, violence against EHRDs also increases, whether through assaults, murders, intimidation, harassment, stigmatization, and criminalization. A human-rights-based approach and more protection for young people protecting their environment and future are in constant need of reinforcement. International Youth Day In 1999, the United Nations General Assembly endorsed the recommendation by the World Conference of Ministers of Youth (Lisbon, 8-12 August 1998) that 12 August be declared International Youth Day (A/RES/54/120). Over the last two decades of International Youth Day celebrations, several innovative and timely themes have been explored, including mental health, intergenerational solidarity, safe spaces for youth and civic engagement. 2023 Theme: Green Skills for Youth: Towards a Sustainable World The shift towards an environmentally sustainable and climate-friendly world is critical not only for responding to the global climate crisis but also for achieving the Sustainable Development Goals (SDGs). A successful transition towards a greener world will depend on the development of green skills in the population. Green skills are “knowledge, abilities, values and attitudes needed to live in, develop and support a sustainable and resource-efficient society”. These include technical knowledge and skills that enable the effective use of green technologies and processes in occupational settings, as well as transversal skills that draw on a range of knowledge, values and attitudes to facilitate environmentally sustainable decisions in work and in life. Due to their interdisciplinary nature, the essence of green skills is sometimes expressed, partly if not wholly, through other associated terms such as “skills for the future” and “skills for green jobs”. While green skills are relevant for people of all ages, they have heightened importance for younger people, who can contribute to the green transition for a longer period of time. Despite the growing recognition ofthe relevance of green skills, the available evidence suggests a shortage of such skills among young people. The skills gap represents an obstacle for young people to participate in a world of work that is shifting towards a green economy. If current trends persist, by 2030 more than 60 percent of young people may lack the skills required to thrive in the green economy. The 2023 edition of International Youth Day will focus on green skills for youth, highlighting initiatives at the global and national levels, discussing relevant opportunities and challenges, and offering forward looking policy guidance. For the official commemoration of International Youth Day 2023, DESA will organize a global webinar in collaboration with the UN Global Initiative on Decent Jobs for Youth and Generation Unlimited on 12 August 2023. Geneva Celebrations of International Youth Day Inclusion of Youth in UN Processes Since the UN launched the International Youth Year in 1985, the inclusion and participation of young people in UN processes have progressively increased and improved. At the Earth Summit held in Rio de Janeiro in 1992, parties recognized that achieving sustainable development requires the active participation of all sectors of society and all types of people. As a result, Agenda 21, formalized nine sectors and rightsholder groups of society as the main channels through which broad participation would be facilitated in UN activities related to sustainable development. These are most commonly referred to as “Major Groups and other Stakeholders”. In 1995, on the tenth anniversary of International Youth Year, the UN strengthened its commitment to young people by adopting an international strategy — the World Programme of Action for Youth to the Year 2000 and Beyond. Young people’s interventions in environmental-related processes and negotiations have become historic for their framing of adults’ lack of action and their failure to preserve the planet for current and future generations, leaving such responsibility to young people themselves. 15-year-old activist Greta Thunberg speaks at the UN Climate Change COP24 Conference in Katowice in 2018. Youth @ UNEA Children and youth are among the Major Groups accredited to UNEP and the UN Environment Assembly (UNEA). Currently, 51 organizations from across the world can get directly involved with UNEP. Children and Youth Major Group to UNEP (MGCY) is the official participation mechanism for children and youth and children-/ and youth-led organizations in UNEA. The group creates working groups on leading topics of the UNEA and consults children and youth globally in order to assess their opinion on the topics negotiated. These positions are then transformed into position papers which are submitted to the member states as well as oral interventions during the negotiations. UNEP MGCY prepares negotiations internally and sends a group of representatives to UNEA and most CPR and CPR Subcommittee meetings in order to represent children and youth voices. In preparations to the Sixth Session of the UN Environment Assembly (UNEA-6), UNEP MGCY provided inputs to the ministerial declaration to be adopted at the session taking place from 26 February to 1 March 2024. Youth Environment Assembly Since 2020, the Children and Youth Major Group of UNEP organizes the Youth Environment Assembly. Taking place in the run-up and/or as part of the UNEA, the Assembly comprises sessions on a variety of environmental topics, interactive segments, regional and thematic breakouts, dedicated plenary sessions and high-level segments featuring dialogues between environment ministers and youth. Youth @ Stockholm+50 The Stockholm+5o international meeting gathered over 300 young people from all over the world and saw the participation of more than 700 in the Youth Task Force to Stockholm+50, which worked on the preparations to the meeting. After meeting with the UN Secretary-General and UNEP Executive Director Inger Andersen, the Youth Task Force agreed to the Global Youth Policy Paper. It demands governments to focus on actions for a healthy planet, COVID-19 recovery, the environmental dimension of sustainable development, and ensuring inclusive decision-making. An event organized by the International Labour Organization (ILO), UNEP, and the UN International Children’s Emergency Fund (UNICEF), focused on boosting green jobs and green, employable skills in key countries and high-impact sectors announced the creation of the Green Jobs for Youth Pact, later established at the Climate Change COP27 in November 2022. Youth @ Conference on Biological Diversity The Secretariat of the Conference on Biological Diversity (CBD) invites youth and children in participating to the presentation, protection and restoration of biodiversity. Even prior to the establishment of the Global Youth Biodiversity Network in 2012, young people have participated and contributed to CBD’s conferences of the parties. COP11 Decision XI/8 formally recognized the importance of youth participation in the decision-making process at all levels. Youth actively participated in the first and second part of the UN Biodiversity Conference (2021-2022). Among other activities, young delegates led a Youth Summit, a Youth Day, a youth hub in Place Quebec, side-events, exhibitions, marches and caucuses to coordinate young’s people views on the CBD negotiations including on the Kunming-Montreal Global Biodiversity Framework. Youth @ Climate COPs Young people’s participation in Climate Change Conferences of the Parties started to become more institutionalized since COP10 in Buenos Aires when young people came together as an “organized caucus” for the first time drafting a declaration that called for “the recognition of a Youth Constituency Group within the COP in order to assure youth participation, in line with other groups such as businesses, indigenous people and environmental organizations.” Since COP11, young people constituencies (officially YOUNGO) have organized Conferences of Youth (COY) ahead of COPs. Built on four major components of policy document; capacity building; skill-building workshops; and cultural exchange. Youth at UNFCCC Conferences also portray in Young and Future Generations Day; High-Level Youth Briefings; UN Youth Booth and more. For the first time at COP27, youth was mentioned 11 times in the Sharm el-Sheikh implementation plan. These articles recognized the important role of children and youth as agents of change in addressing and responding to the climate crisis, and encouraged parties to include them both in their processes for designing and implementing climate policy at a national and international levels and in national delegations attending climate negotiations. This was also the first time as well that COP appointed a Youth Envoy. Chemicals and Waste Youth Platform The Chemical and Waste Youth Platform (CWYP), operationalized in 2021 aims at engaging youth in the design, implementation, monitoring, follow-up and review of chemicals and waste agenda policies at all levels. Gathering youth organizations from across the world, the CWYP represents the collective voice of young people working towards a healthier, toxic-free world. The consistency takes to various chemicals and waste-related negotiations and conferences of the parties, including the Basel, Rotterdam and Stockholm Conventions COPs, the and will participate to the International Conference on Chemicals Management (ICCM5) held in September 2023 in Bonn, Germany as its First Youth Delegation. In the context of ICCM5, the Chemical and Waste Youth Platform hosted a one-day Youth Forum on 27 September, featuring the launch of the “Global Youth Declaration on Chemicals and Waste.” Guides for Youth Participation - Participation Guide: Rio+20 – An Introduction for Children and Youth by Rio+20 | 2011 - Youth Delegate Guide to the United Nations by the United Nations Programme on Youth | 2010 - Youth Participation in the UNFCCC Negotiation Process by the UNFCCC Secretariat | 2010 - Guide for youth NGOs at United Nations meetings by the European Youth Forum | 2008 - Navigating International Meetings by the UN Association of Canada | 2002 UN Envoy on Youth The Office of the Secretary-General’s Envoy on Youth was established in 2013 when Ahmad Alhendawi of Jordan was appointed as the first holder of the mandate. The mandate of the UN Envoy on Youth builds off the UN SG vision and strategy Youth 2030 and is focused on three main pillars: 1) Increasing youth participation in the Inter-Governmental Space; 2) Realizing the potential of the young people within the UN system; and 3) Engagement and mobilization of young people. The current mandate holder is Jayathma Wickramanayake of Sri Lanka, appointed by the UNSG in 2017. In a Resolution adopted on 8 September 2022 (A/RES/76/306), the General Assembly decided to establish the United Nations Youth Office as a dedicated office for youth affairs in the Secretariat, integrating the Office of the Envoy of the Secretary-General on Youth, following the completion of necessary steps. UN Secretary-General’s Youth Advisory Group on Climate Change The UNSG Youth Advisory Group on Climate Change was established with the selection of the first cohort in 2020. During their two-year mandate, young people aged from 15 to 29 selected from a pool of candidates nominated by youth- and climate-focused non-governmental and civil society organizations around the world, support the UNSG with practical and outcome-focused advice, diverse youth perspectives and concrete recommendations, with a clear focus on accelerating the implementation of his climate action agenda. The current cohort started its two-year term on 16 March 2023 and is composed by seven inspirational young individuals. Youth and the SDGs Young people are targeted by various Sustainable Development Goals, especially SDG4 on quality education; SDG5 on gender equality; SDG8 on decent work and economic growth; SDG10 on reducing inequality; SDG13 on climate action; and SDG16 on peace, justice and strong institutions. To monitor and measure the state of youth in the SDGs the UN Office of Information, Communication, Technology (OICT) and Qlik, developed the Youth SDG Dashboard data visualization platform. The 2021 report “Believe in Better: From Policy to Practice”, developed by the UN Youth Envoy in partnership with ActionAid Denmark, demonstrates how the UN currently works with young people so that they are meaningfully and actively included in decision-making spaces at multiple levels of governance, and provides a snapshot of insights and data, into how young people are organizing, included, and responded to by those in positions of power. Young people play a key role in the shaping of the SDG agenda and in their implementation. As early as 2016, the Young Leaders for the SDGs initiative was launched. Every two years, a group of 17 young people from all over the world are selected for their agency, courage and ingenuity in finding lasting solutions to the world’s greatest challenges. Under the coordination of the UN Envoy on Youth, these young leaders contribute to the achievement of the SDGs in accessible and innovative ways and support the UN’s efforts to mobilize young people. Role of Geneva International Labour Organization (ILO) The International Labour Organization (ILO), together with UNEP and UNICEF launched the Green Jobs for Youth Pact at the end of 2022. ILO, UNEP, and UNICEF will work alongside their member states, employers, workers organizations and educators to tackle the youth and green jobs deficit, address the green skills gap in developing countries, focusing on sectors that are vulnerable to climate change and pushing for systemic change that benefits people, the planet, and prosperity. International Trade Center (ITC) ITC’s Youth and Trade Programme promotes youth entrepreneurship in developing countries. It supports young people in the development of their business and employability skills, which in turn improves their access to quality jobs with decent work conditions and increases their income. The programme also contributes to SDG 4 on Quality Education, by ensuring that more young people are equipped with the skills needed in today’s market, and to the SDG on Decent Work and Inclusive Growth. International Union for Conservation of Nature (IUCN) The International Union for Conservation of Nature (IUCN) values young people for their help and engagement, unique perspectives and fresh ideas as well as their expertise to address the global challenges humanity is facing. In 2021, it hosted the virtual IUCN One Nature, One Future Global Youth Summit. The Summit strengthened connections between young leaders and their existing global networks, encouraged interdisciplinary learning, provided a space for broader storytelling on conservation, and added momentum to growing youth movements for nature and climate. Youth from around the world were invited to participate in youth-led capacity-building workshops, networking events, and contribute to an outcome document to be delivered to IUCN’s World Conservation Congress in 2021. In 2022, IUCN revised its Youth Strategy and adopted the 2022-2030 Youth Strategy, which aims to embed young people’s perspectives, inclusion and empowerment in all parts and at all levels of the Union. IHEID Environmental Committee The IHEID Environmental Committee is the students’ environmental association that brings together students interested in sustainability and environmental issues to give voice to these issues within the Institute. All students are encouraged to get involved, regardless of program, semester or level of experience. J’aime ma Planète J’aime ma Planète is a non-profit organization dedicated to protecting the environment and promoting sustainable living. It targets and supports young people through environmental and sustainability education programs and activities in schools. Since 2015, J’aime ma Planète has been the Swiss representative of the Foundation for Environmental Education (FEE), which with members in 81 countries is the world’s largest environmental education organization. Swiss Youth for Climate (SYFC) Swiss Youth for Climate was established in 2015 as a non-partisan association, aiming to give space to the youth in the political debate on climate change. SYFC has regional groups in six cities in Switzerland, including in Geneva, they conduct national political projects, and they participate to international climate negotiations. Swiss Youth for Climate has for objectives to advocate for pragmatic, responsible, and ambitious climate policies at the national and international levels; to raise awareness about the emergency of the climate crisis and about the importance of local and global actions; to mobilize the population, in particular the young generation, in favor of the ecological transition; to take part in international climate conferences as Swiss civil society representatives. United Nations Economic Commission for Europe (UNECE) The UNECE ESD Youth Platform was set up to provide input to the UNECE steering committee on Education for Sustainable Development. The platform is currently developing future strategies that reflect what young people want and map out the different youth engagement possibilities within the system. In the Framework for the implementation of the United Nations Economic Commission for Europe Strategy for Education for Sustainable Development from 2021 to 2030 launched in 2022, emphasis is put on the need to improve education vis-à-vis the triple planetary crisis; ensure youth actively participate and is engaged in the different levels of decision-making that directly and indirectly affects them; and on the need for intergenerational dialogue. To further strengthen the meaningful participation of young people to help address sustainability challenges, in May 2023 UNECE established the Europe Youth Task Force on Education for Sustainable Development, pending the finalization of formal documents. The Task Force builds upon the work previously conducted by the Ad-hoc group on youth linked to the ESD Steering Committee. United Nations Environment Programme (UNEP) – Europe Office UNEP recognizes the importance of working with and for young people and develops its programs in an effort to foster meaningful youth participation. The formal youth engagement in UNEP processes and activities began in 2003 with the TUNZA Youth Strategy, coming from the Kiswahili word “to treat with care or affection”. The overall Tunza Concept aimed to create a global movement in which children and Youth will actively participate in sustainable development. The TUNZA initiative is meant to develop activities in the areas of capacity building, environmental awareness, and information exchange, with a vision to foster a generation of environmentally conscious citizens, capable of positive action. In 2012, following a process of internal restructuring within UNEP processes, UNEP Children and Youth Major Group (MGCY)came into existence and was formalized in 2013-2014. As the formal youth engagement mechanism to UNEP, this youth-led and independent constituency advocates for inclusion, empowerment and meaningful engagement of young people in environmental processes, especially those of UNEP and UNEAs. Since 2020, the MGCY to UNEP organized the Youth Environment Assembly in the run-up to the UNEA. Platforms and initiatives across UNEP have given relevant roles to young people, developing meaningful engagement in the environmental space. The Young Champions of the Earth aims to celebrate and support individuals aged between 18 and 30 who have outstanding potential to create a positive environmental impact. Every year, winners receive seed funding, intensive training and tailored mentoring to bring their big environmental ideas to life. In March 2023, UNEP in partnership with the United Nations Volunteers (UNV) programme, launched the Young Talent Pipeline, a new initiative aimed at increasing the diversity of experiences and solutions to solve the triple planetary crisis of climate change, nature loss and pollution and waste. University of Geneva Etudiant-e-s pour le Développement Durable (EDD) Etudiant-e-s pour le Développement Durable or students for sustainable development is a student association of the University of Geneva that aim to sensibilize the University community to environmental issues. With the support of the University of Geneva and the Geneva Graduate Insitute, the EDD organize yearly the Semaine de la Durabilité (Sustainability Week), offering multiple activities, conferences and seminars around the topic of sustainability. The Earth Foundation The Earth Foundation was founded in 2020 in Geneva to inspire, educate, mentor, and empower students, schools, researchers, and young entrepreneurs with innovative ideas to tackle environmental challenges. It takes enthusiastic youth and inspire, educate, mentor, and empower it to effect real change and hopefully, in turn, embolden the following generation. The foundation hosts the Earth Prize, a global environmental sustainability competition for students between the ages of 13 and 19, which rewards the teams whose projects have the most potential to address environmental issues. World Health Organization (WHO) WHO recognizes and involves youth as partners, stakeholders and changemakers in its work and is committed to engaging with youth in many different ways through various initiatives. The Youth Council brings together youth networks from health and non-health backgrounds from all over the world to provide advice to the WHO Director-General on global health and other health and development issue. The Global Health Workforce Network (GWHN) Youth Hub is an interprofessional community of practice working to systematically include youth health workforce issues related to employment, practice and the work environment in the health and social care sector. The Global Youth Mobilization, which empowers young people to driving change and implement solutions in the post-COVID-19 recovery. The Global Model WHO, organized in collaboration withthe World Federation of United Nations Associations (WFUNA) provides an authentic student-led simulation of the World Health Assembly (WHA) to high school and university students from all over the world. The WHO Briefing Centre provides an educational service to students and young professionals from a variety of disciplines through interactive briefing sessions (face-to-face or virtual) on public health topics. WHO Youth Delegate Program allows the inclusion of youth delegates in a Member State’s official delegation so that young people can participate in global health governance as a formally accredited member of a Member State’s official delegation to a WHO high-level meeting. World Intellectual Property Organization (WIPO) WIPO engagement with youth spaces from organization of webinars, ad hoc guides and initiatives. In 2020, WIPO GREEN launched Young and Green, an initiative to give enhanced visibility to young eco-entrepreneurs and innovators. World Meteorological Organization (WMO) The World Meteorological Organization (WMO) set up a parallel website WMO for Youth where information about its activities and meteorology are rendered more easily accessible for young people and where it is possible for youth to share stories about their interest in the subject and work of the WMO. Recognizing the strong stake that young people have in the future, WMO chose “Weather and climate: engaging youth” as the theme for the 2014 World Meteorological Day. WWF Youth offers young people aged from 14 to 25 volunteering experiences granting real hands-on experience in the environment, project management, communication, etc, learning from professionals and people active in the environment. For people aged 13 to 18, the Pandaction allows participating in Nature Camps and plenty of other events around environmental themes. Past GEN Events 09 May 2023 | International Pollutants Elimination Network Unleashing the power of youth through Education: Sustainable solutions for a Better Future | RFSD2023 28 March 2023 | UNEP Europe Office, United Nations Economic Commission for Europe, Geneva Environment Network Youth Participation in National Implementation Plan and Strategies (NIPs) to the BRS Conventions | BRS COPs Side Event 15 June 2022 | International Pollutants Elimination Network, Center for International Environmental Law RFSD2022 Peer Learning Round Table | Rebalancing people, planet and prosperity: ESD as key enabler for the 17 SDGs and Agenda 2030 7 April 2022 | United Nations Educational, Scientific and Cultural Organization, United Nations Economic Commission for Europe, UNEP Europe Office Photo Credit: ICAN/Lucero Oyarzun. As part of the Fridays for Future school strikes, youth protest for climate action in Geneva in 2019.

<urn:uuid:129c920b-ef96-401c-8033-4d5ce7e2eccb>

CC-MAIN-2023-40

https://www.genevaenvironmentnetwork.org/resources/updates/youth-and-the-environment/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510501.83/warc/CC-MAIN-20230929090526-20230929120526-00774.warc.gz

en

Elections are a fundamental process in democratic governments, serving as the cornerstone of representative governance. Through elections, individuals exercise their right to choose leaders who will make decisions on their behalf and shape public policies. This article aims to provide an overview of the electoral process in government, highlighting its significance, key components, and potential challenges. To illustrate the importance of elections, let us consider the case study of Country X. In Country X, citizens participate in regular elections to select their representatives at various levels of government. These elected officials then assume positions that allow them to influence legislative actions and formulate policies aligned with constituents’ interests. The electoral system ensures that power remains vested in the hands of the people by providing them with a platform for expressing their preferences and holding those entrusted with authority accountable for their actions. In understanding elections within a governmental context, it is crucial to examine their essential elements. Key components encompass voter registration processes, campaign activities, ballot casting methods, vote counting procedures, and result announcement protocols. Analyzing these aspects provides insights into how democracy functions through transparent and inclusive mechanisms designed to safeguard fairness and integrity throughout the entire voting process. However, while elections serve as vital vehicles for citizen participation and representation, they can also encounter notable challenges such as voter apathy and disenfranchisement, electoral fraud or manipulation, and the influence of money in politics. Voter apathy refers to a lack of interest or motivation among eligible voters to participate in the electoral process. This can stem from various factors such as disillusionment with political parties or candidates, a perception that their vote does not matter, or a belief that the system is corrupt. When voter turnout is low, it can undermine the legitimacy of election results and weaken democratic representation. Disenfranchisement occurs when certain groups or individuals are systematically prevented from exercising their right to vote. This can happen through restrictive voter ID laws, gerrymandering (redrawing district boundaries to favor one political party), or voter suppression tactics such as purging voter rolls or closing polling stations in specific areas. Disenfranchisement undermines the principles of equality and fairness in elections by denying some citizens the opportunity to have their voices heard. Electoral fraud or manipulation involves actions intended to distort election outcomes. Examples include tampering with ballot boxes, falsifying voter registrations, intimidating voters, buying votes, or spreading misinformation about candidates. These activities undermine the integrity of elections and erode public trust in the democratic process. The influence of money in politics is another significant challenge for elections. When wealthy individuals, corporations, or special interest groups contribute large sums of money to political campaigns, it can create an uneven playing field where those with more resources have greater access and influence over elected officials. This can lead to policies and decisions that prioritize the interests of wealthier donors rather than serving the broader public good. To address these challenges and ensure robust and fair elections, governments employ various measures such as implementing strict regulations on campaign financing, enacting anti-corruption laws, enhancing transparency in electoral processes, promoting civic education and engagement initiatives, and actively combating disinformation campaigns. In conclusion, elections play a crucial role in democratic governance by empowering citizens to choose their representatives and hold them accountable. However, challenges such as voter apathy, disenfranchisement, electoral fraud, and the influence of money in politics can undermine the integrity and fairness of elections. Governments must continually strive to address these challenges and uphold the principles of democracy to ensure that elections remain a cornerstone of representative governance. Understanding Voter Registration Voter registration is a crucial component of the electoral process, as it determines who can participate in elections and exercise their democratic rights. Whether through online platforms or physical registration centers, individuals are required to register themselves as voters before they can cast their ballots. To illustrate this process, let us consider a hypothetical scenario: Alex has recently turned 18 and wants to vote for the first time in an upcoming election. The first step in voter registration involves providing personal information such as name, address, date of birth, and citizenship status. This data is used to verify eligibility requirements and ensure that only qualified individuals are registered as voters. Once Alex provides these details accurately, they will be given a unique identification number or voter ID card, which serves as proof of their registration. - Empowerment: By registering to vote, individuals have an opportunity to exercise their right to choose representatives who align with their values and beliefs. - Inclusivity: Registering allows marginalized communities, whose voices may otherwise go unheard, to actively participate in shaping government decisions. - Accountability: Voting enables citizens to hold elected officials accountable for their actions by choosing whether or not to re-elect them. - Representation: Through voting, people contribute to building a more representative democracy that reflects diverse perspectives within society. Additionally, we can include a table highlighting key benefits of voter registration: |Benefits of Voter Registration| |Increased civic engagement| |Amplified collective voice| Now turning our attention toward the subsequent section on “The Role of Money in Political Campaigns,” it becomes evident that while understanding how voters register is essential for participation in elections, other factors also significantly impact the outcome of political processes. The Role of Money in Political Campaigns Imagine a political candidate running for office who lacks the financial resources to effectively reach voters, promote their platform, and counter opposing narratives. This scenario highlights the significant role that money plays in political campaigns. In this section, we will explore how campaign financing impacts elections and its implications on democratic processes. The Influence of Money: Campaign finance has increasingly become a contentious issue due to concerns about fairness, transparency, and potential corruption. Here are some key aspects regarding the influence of money in political campaigns: Increased Spending: Over time, there has been a notable rise in campaign spending by candidates seeking elected positions. Financial resources enable them to invest in advertising, direct mailings, public relations firms, and other promotional activities that can sway voter opinions. Unequal Playing Field: A consequence of heavy reliance on monetary contributions is that it often creates an uneven playing field among candidates. Wealthier contenders or those with access to substantial funding sources may have more opportunities to connect with voters through extensive media exposure and sophisticated campaigning techniques. Donor Influence: Another concern is the potential influence donors exert over politicians once they are elected into office. When candidates rely heavily on specific interest groups or wealthy individuals for financial support, critics argue that these contributors may expect favorable treatment when it comes to policymaking decisions. Limited Accessibility: Excessive focus on fundraising efforts could divert candidates’ attention away from engaging directly with constituents or addressing important policy issues concerning society at large. Impact Table (Emotional Response): Consider the following table highlighting the impact of money in politics: |1. Reduced trust in government||Citizens may perceive excessive fundraising as undermining democracy| |2. Disproportionate representation||Candidates reliant on big donations may prioritize donor interests| |3. Potential for corrupt practices||Money can influence policymaking decisions| |4. Limited diversity of candidates||Financial barriers may discourage qualified individuals from running| Understanding the role of money in political campaigns is crucial for comprehending the dynamics that shape electoral outcomes and democratic processes. The significant financial resources required to run a successful campaign have implications on fairness, representation, and public trust. As we delve further into this topic, let us now explore Different Voting Methods and their potential impact on elections. Next, we will examine various voting methods that aim to enhance inclusivity and representativeness in the electoral process. Exploring Different Voting Methods In the previous section, we examined the significant role that money plays in political campaigns. Now, let us shift our focus to exploring different voting methods and their implications for democratic elections. To better understand this topic, let’s consider a hypothetical scenario where a country is considering implementing ranked-choice voting. Ranked-choice voting allows voters to rank candidates according to their preference. This system aims to provide more accurate representation by ensuring that winners have majority support. There are several key features associated with ranked-choice voting: Elimination Process: In this method, if no candidate receives an outright majority of first-place votes, the candidate with the fewest first-place votes is eliminated. Then, those who voted for the eliminated candidate have their second choices counted instead. This process continues until one candidate secures a majority. Strategic Voting: Ranked-choice voting encourages strategic thinking among voters as they must carefully consider how to rank their preferred candidates based on viability and electability. Voters may choose to strategically rank lesser-known candidates higher or lower depending on their desired outcome. Voter Satisfaction: Proponents argue that ranked-choice voting promotes voter satisfaction because it allows individuals to express preferences beyond just selecting one candidate. It gives voters a say even if their top choice does not win initially, potentially leading to less negative campaigning and fostering more positive engagement. Complexity: Critics highlight concerns about potential confusion surrounding ranked-choice voting due to its complexity compared to traditional systems like plurality or runoff elections. Ensuring effective voter education and clear instructions become crucial aspects when adopting this method. |Enhanced Choice||Potential Confusion| |Reduced Negative Campaigning||Strategic Voting| |Promotes Positive Engagement||Education Challenges| As we can see from this discussion, implementing ranked-choice voting presents both advantages and challenges within the electoral process. Now, let’s delve into how electoral systems shape elections and influence democratic outcomes. Understanding different voting methods is crucial when examining how electoral systems shape elections. By exploring these various approaches, we can gain valuable insights into their impact on democracy and representation. How Electoral Systems Shape Elections Transitioning from the previous section, which explored different voting methods, we now turn our attention to how electoral systems shape elections. To illustrate this concept, let us consider a hypothetical scenario in a country called Terravia. In Terravia’s recent election for their national parliament, two major parties contested: the Progress Party and the Unity Party. The outcome of this election will help shed light on the influence of electoral systems on democratic processes. One crucial aspect that determines the impact of an electoral system is its level of proportionality. Proportional representation ensures that seats in the parliament are distributed based on each party’s share of votes. This allows for fairer representation and increases inclusivity within the government. On the other hand, winner-takes-all or plurality systems favor larger political parties and often result in fewer voices being represented. Apart from proportionality, another factor at play is ballot structure. A simple plurality system uses single-member districts where voters choose one candidate per district, whereas alternative vote (AV) systems allow voters to rank candidates by preference. AV can provide more nuanced outcomes by considering second-choice preferences when no candidate receives an absolute majority. To further understand these dynamics, let us examine four key points regarding electoral systems: - Representation: Different electoral systems prioritize different forms of representation – whether it be individual constituencies or broader proportional distribution. - Coalition Building: Electoral systems can incentivize political parties to form coalitions before or after elections in order to gain power or maximize their chances of securing seats. - Voter Turnout: Certain electoral systems have been observed to affect voter turnout rates. Some argue that proportional representation encourages higher participation as individuals feel their votes carry more weight. - Minority Representation: Minority groups may benefit from certain types of electoral systems that promote diversity and inclusion by providing reserved seats or implementing quotas. Table: Comparative Analysis of Electoral Systems |Electoral System||Level of Proportionality||Ballot Structure| |Proportional Representation||High||Party lists or multi-member districts| |Alternative Vote (AV)||Medium||Ranked preferences| It is essential to recognize that the choice of an electoral system can significantly impact the outcomes and representation within a government. The Terravian election, for example, took place under a proportional representation system with party lists, resulting in a diverse parliament where smaller parties secured seats alongside larger ones. Transitioning into the subsequent section on “The Impact of Campaign Advertising on Voters,” we delve into another critical aspect of elections: how campaign advertisements shape voter behavior and decision-making processes. By understanding both the structural elements of electoral systems and external influences such as advertising, we gain insight into the multifaceted nature of democratic elections. The Impact of Campaign Advertising on Voters Having explored how electoral systems shape elections, it is now crucial to examine another significant factor that influences voter behavior – campaign advertising. By examining the impact of these advertisements, we can gain insight into their effectiveness and potential consequences. Campaign advertising plays a pivotal role in shaping public opinion during elections. For instance, consider a hypothetical case where two candidates are running for office. Candidate A invests heavily in television commercials, online ads, and billboards strategically placed throughout the community. In contrast, Candidate B relies solely on grassroots efforts without any paid advertisements. It becomes evident that voters may be more likely to encounter information about Candidate A due to the extensive reach of their campaign ads. To further understand the influence of campaign advertising on voters’ decision-making processes, several key points should be considered: - Emotional appeal: Many campaign advertisements aim to evoke specific emotions within viewers, such as fear or hope. Harnessing emotional responses can sway individuals towards supporting a particular candidate. - Persuasive techniques: Advertisements often employ various persuasive techniques like testimonials, statistics, or expert opinions to convince voters of a candidate’s credibility or superiority over opponents. - Repetition effect: Frequent exposure to campaign advertisements increases familiarity with certain candidates and their messages. This repetition can subconsciously influence voters by creating an illusion of popularity or trustworthiness. - Negative campaigning: Some political campaigns utilize negative tactics to discredit opponents rather than focusing solely on promoting their own policies or qualifications. These strategies have been known to polarize voters and potentially foster cynicism towards the entire political process. Table: Examples of Persuasive Techniques Used in Campaign Advertising |Testimonials||Using endorsements or personal stories from influential figures or everyday citizens||“As a small business owner myself, I endorse Candidate X for economic growth.”| |Statistics||Presenting data or facts to support a candidate’s claims||“Candidate Y has increased funding for education by 20% in the past year.”| |Expert opinions||Citing professionals or experts who validate a candidate’s qualifications or policy proposals||“Renowned economist Dr. Z strongly supports Candidate Z’s tax reform plan.”| In conclusion, campaign advertising plays a crucial role in influencing voters’ decision-making processes during elections. By appealing to emotions, utilizing persuasive techniques, employing repetition effects, and sometimes resorting to negative campaigning tactics, advertisements can significantly shape public opinion. Understanding these dynamics is essential not only for voters but also for candidates seeking to effectively communicate their messages. Transition into the subsequent section about “Ensuring Eligibility to Vote”: While campaign advertising influences voter behavior, it is equally important to ensure that individuals eligible to vote have access to exercise this fundamental right. Therefore, exploring mechanisms for ensuring eligibility becomes imperative. Ensuring Eligibility to Vote Having examined the process of elections in government, we now turn our attention to another crucial aspect that influences voter behavior and decision-making – campaign advertising. By analyzing the impact of campaign advertisements on voters, we can gain valuable insights into how these messages shape public opinion. Campaign Advertising and Voter Decision-Making: To illustrate the influence of Campaign Advertising, consider a hypothetical scenario where two candidates are running for a local mayoral position. Candidate A launches an extensive advertising campaign highlighting their accomplishments in office and promising further progress. In contrast, Candidate B relies primarily on grassroots campaigning without investing heavily in advertisement. It becomes evident that the strategic use of campaign ads plays a significant role in shaping voters’ perceptions and preferences. The Emotional Appeal: Campaign advertisements often employ emotional appeal as a persuasive tactic to sway voters towards a particular candidate or political party. To evoke an emotional response, these advertisements may utilize various techniques such as storytelling, imagery, music, or personal testimonials. This approach aims to establish a connection with voters at an emotional level, influencing their attitudes and voting decisions. For instance: - A heartwarming story showcasing how a candidate’s policies positively impacted individuals within the community. - An advertisement featuring patriotic symbols like flags and national landmarks to instill feelings of pride and loyalty. - Use of negative emotions by highlighting potential consequences if the opposing candidate wins. - Appeals based on fear or anxiety about certain issues affecting society. Table: Emotional Appeal Techniques Used in Campaign Advertisements |Storytelling||Presenting narratives that resonate with viewers| |Imagery||Using visuals to elicit specific emotions| |Music||Employing melodies to create desired moods| |Personal Testimonials||Sharing personal experiences or endorsements| Emotional Responses Elicited by Campaign Ads - Joy and optimism for a better future - Fear of potential negative outcomes - Empathy towards individuals facing challenges - Pride in one’s community or country Transition sentence to the next section: Understanding how campaign advertising affects voters’ decision-making is crucial, but it is equally important to examine the role of financial resources in shaping election outcomes. In the following section, we will explore “The Influence of Campaign Financing” and its implications on democratic processes. The Influence of Campaign Financing As we delve further into the electoral process, it is essential to understand how eligibility to vote is determined. This section will explore the mechanisms in place that ensure individuals are qualified to participate in elections. To illustrate this, let’s consider a hypothetical case study of a country called Xanadu. In Xanadu, citizens must meet certain criteria to be eligible for voting. Some common requirements include being of a certain age, typically 18 years or older, and being a registered citizen. Additionally, individuals may need to provide proof of residence within the country or district where they wish to cast their votes. To streamline the determination of eligibility, governments often employ various methods such as voter registration systems and identification verification processes. These measures aim to prevent fraudulent activities and maintain the integrity of the electoral system. For instance, in Xanadu, citizens must register with their local government office before an election takes place. During this registration process, officials verify important details like age and residency through documents such as birth certificates and utility bills. While efforts are made to make voting accessible and inclusive, challenges remain. Here are some factors that can impact an individual’s eligibility: - Socioeconomic barriers: Limited access to resources required for documentation or lack of transportation might hinder individuals from fulfilling eligibility requirements. - Discrimination: Certain marginalized groups may face discrimination that restricts their ability to obtain necessary documentation or exercise their right to vote. - Legal restrictions: In some cases, laws may disenfranchise specific populations based on factors such as criminal convictions or immigration status. - Technological limitations: The transition towards digital systems may pose difficulties for those who have limited technological literacy or lack access to internet services. To summarize, ensuring eligibility plays a crucial role in upholding the legitimacy of elections. Countries implement various mechanisms to determine qualifications while striving for inclusivity. However, socioeconomic disparities, discrimination, legal constraints, and technological limitations can present challenges in achieving universal access to voting. Moving forward, we will now turn our attention to examining the different mechanisms that facilitate the act of voting itself. This exploration will shed light on how individuals cast their votes and contribute to shaping government representation. Examining Voting Mechanisms Transitioning from the previous section on campaign financing, it is crucial to delve into understanding voting mechanisms in elections. By examining these mechanisms, we can gain insight into how they shape electoral outcomes and influence democratic processes. To illustrate this point, let us consider a hypothetical scenario where a country implements a proportional representation system for electing their representatives. In a proportional representation system, parties are allocated seats based on the percentage of votes they receive nationwide. For instance, if Party A receives 40% of the total votes, they would be entitled to approximately 40% of the available seats in parliament. This mechanism aims to ensure fair representation for smaller parties that may not have strong regional support but still hold significant national appeal. Exploring further, several key aspects emerge when evaluating different voting mechanisms: - Representation: The choice of voting mechanism directly impacts the degree to which voters’ preferences are accurately reflected in elected representatives. Proportional representation systems tend to provide more diverse representation compared to winner-takes-all systems like First-Past-The-Post (FPTP), where only candidates with the highest vote count win. - Voter Turnout: Different voting mechanisms can influence voter turnout rates due to factors such as ease of access or perceived effectiveness in translating individual votes into meaningful outcomes. - Strategic Voting: Certain voting methods may encourage strategic behavior among voters who strategically cast their ballots to maximize desired outcomes rather than simply expressing true preferences. - Government Stability: The chosen voting mechanism affects government stability by influencing party fragmentation or consolidation and facilitating coalition formation. To better understand these differences across various voting mechanisms, consider the following table comparing four common approaches: |Voting Mechanism||Representation||Voter Turnout||Strategic Voting||Government Stability| |Proportional||High||Varies||Less prevalent||Coalitions likely| |First-Past-The-Post||Low||Varies||Commonly observed||Majority rule| |Ranked Choice||Moderate||Moderate to High||Reduced due to preferences||Broad representation| |Voting (RCV)||-based elimination| In conclusion, examining different voting mechanisms provides us with valuable insights into how they shape electoral processes. By considering factors such as representation, voter turnout, strategic voting patterns, and government stability, we can better understand the implications of each mechanism on democratic governance. In the subsequent section, we will delve deeper into understanding the structure of electoral systems. Understanding these voting mechanisms is closely tied to comprehending the overall structure of electoral systems. The Structure of Electoral Systems In the previous section, we explored various voting mechanisms that play a crucial role in elections. Now let us delve deeper into the structure of electoral systems and understand how they shape the outcomes of democratic processes. To illustrate this, let’s consider a hypothetical scenario where an election is taking place in a country with a proportional representation system. In this system, parties are allocated seats in proportion to their share of the vote. This means that smaller parties have a better chance of being represented, leading to greater diversity within the legislative body. For instance, if Party A receives 30% of the votes, Party B gets 40%, and Party C secures 15%, then their respective allocation of seats will reflect these percentages. The structure of electoral systems can influence several key factors: - Representation: Different systems prioritize different aspects of representation. While some focus on regional or ethnic representation, others aim for gender balance or minority inclusion. The choice of system can significantly impact which groups are adequately represented in government. - Stability: Electoral systems also affect political stability by influencing party dynamics and coalition building. Systems like first-past-the-post tend to favor two-party dominance, while proportional representation often leads to multi-party coalitions. - Voter Engagement: The design of electoral systems can either encourage or discourage voter participation. Factors such as ease of access to polling stations, registration requirements, and the clarity of ballot papers all contribute to shaping voter turnout. - Accountability: Ultimately, electoral systems determine how accountable elected officials are to their constituents. Some systems emphasize individual accountability through single-member districts, while others prioritize party accountability via list-based proportional representation. Consider Table 1 below for a visual summary comparing different types of electoral systems based on these factors: |Electoral System||Key Features||Representation||Stability||Voter Engagement||Accountability| |First-past-the-post (FPTP)||Single-member districts||Regional/Ethnic||Two-party dominance||Moderate/High turnout||Individual| |Proportional Representation (PR)||Party lists with seat allocation based on vote share||Diversity||Multi-party coalitions||Varies depending on other factors||Party| Moving forward, let us now shift our focus to the strategies employed by political campaigns in their advertising efforts. By examining various tactics and techniques, we can gain insight into how candidates seek to sway public opinion and secure electoral success. Analyzing Strategies in Campaign Advertising Understanding the structure of Electoral Systems is crucial in comprehending how elections function. Equally important is recognizing the impact these systems have on political representation. In order to grasp the significance of electoral systems, let us examine a hypothetical scenario. Imagine a country called Xanadu that implements a proportional representation (PR) system for its parliamentary elections. Under this system, parties receive seats in proportion to the number of votes they secure nationwide. For instance, if Party A wins 40% of the vote, they would be allocated approximately 40% of the seats in parliament. This example highlights several key aspects influenced by different types of electoral systems: - First-past-the-post (FPTP) systems often lead voters to strategically cast their ballots for one of two major parties. - PR and mixed-member proportional (MMP) systems encourage voters to support smaller parties as their votes are more likely to translate into actual seats in parliament. - In FPTP systems, where only one candidate can win per district, coalition governments are less common due to the dominance of major parties. - PR and MMP systems foster coalition building among multiple parties since seat allocation depends on overall party performance rather than winning individual constituencies. - FPTP tends to favor majority groups or concentrated pockets of support. - PR and MMP offer greater opportunities for minority representation as smaller parties representing specific communities or interests can secure seats based on their share of the popular vote. - The perceived fairness and legitimacy of an election outcome influence voter satisfaction. - While some may appreciate clear results under FPTP, others prefer proportional outcomes achieved through PR or MMP. To further illustrate these differences between electoral systems, consider Table 1 below: Table 1: Comparative Analysis of Electoral Systems |Electoral System||Voting Behavior||Coalition Building||Minority Representation||Voter Satisfaction| |FPTP||Strategic voting, support for major parties||Less common due to dominance of major parties||Favors majority groups or concentrated pockets||Clear results| |PR||Support for smaller parties with proportional outcomes||Encourages coalition building among multiple parties||Greater opportunities for minority representation||Proportional outcomes| In conclusion, it is evident that different electoral systems have distinct impacts on political representation. Understanding these effects allows us to critically assess the strengths and weaknesses of various systems in relation to democratic ideals such as inclusivity and fairness. Transition into subsequent section: Now let’s delve into another crucial aspect of elections – voter registration – which plays a fundamental role in ensuring the integrity and accuracy of electoral processes. Voter Registration: An Essential Step in Elections Having discussed the strategies employed in campaign advertising, it is now imperative to delve into another crucial aspect of elections – voter registration. Understanding the significance of this process can shed light on how eligible citizens actively participate in shaping their government. To illustrate its importance, let us consider a hypothetical scenario wherein a young individual named Alex wishes to exercise their voting rights for the first time. Voter registration serves as a fundamental step towards ensuring that individuals are able to cast their ballots during elections. In our example, Alex, as an eligible citizen eager to engage in democratic decision-making, must register themselves with the appropriate authorities prior to Election Day. This process typically involves providing personal information such as name, address, and citizenship status through an application form or online platform. Once registered, Alex becomes part of the electoral roll and gains access to exercising their right to vote. To comprehend the significance of voter registration more comprehensively, let us explore some key reasons why this step is vital: - Inclusivity: Voter registration helps ensure that all eligible citizens have equal opportunities to participate in elections. - Accuracy: By maintaining updated voter rolls through regular registration updates and purges of ineligible voters, election officials can facilitate fair and accurate polling processes. - Accountability: Establishing a comprehensive database of registered voters enables authorities to monitor potential instances of fraud or irregularities. - Representation: High levels of Voter Registration contribute towards fostering representative democracies where diverse voices are heard and accounted for. Table: Importance of Voter Registration |Inclusivity||Ensures equal participation opportunities for all eligible citizens| |Accuracy||Facilitates fair and precise polling procedures| |Accountability||Enables monitoring and prevention of fraudulent activities| |Representation||Fosters a more representative democracy by incorporating diverse perspectives and voices| In conclusion, voter registration stands as an essential step in the electoral process. By registering to vote, individuals like Alex can actively engage in shaping their government through democratic decision-making. Ensuring inclusivity, accuracy, accountability, and representation are key reasons why this process carries significant weight in fostering a robust democratic system. Therefore, it is crucial for governments and election authorities to prioritize initiatives that promote easy access to voter registration and encourage citizens’ active involvement in the electoral process. [End of Section]

<urn:uuid:9907baa6-27c7-4b39-952e-e0763d48599c>

CC-MAIN-2023-40

https://comisionanticorrupcion.com/elections/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233511106.1/warc/CC-MAIN-20231003124522-20231003154522-00774.warc.gz

en

Who is Ralph and Why is His Experience on the Island Significant? Ralph is one of the main characters in William Golding’s novel, “Lord of the Flies”. He is introduced to us as a fair-haired, twelve-year-old boy who, along with a group of his schoolmates, gets stranded on a deserted island after a plane crash during wartime. Prior to the crash, Ralph was a confident boy, a natural leader who was appointed to be the group’s chief by the boys themselves. However, his experience on the island had a profound effect on him, causing him to undergo several changes throughout the novel. Ralph’s experience on the island is significant because it highlights the impact of isolation and the absence of adult supervision on children. As the story progresses, the reader witnesses how the boys’ innate savagery takes over and how their behavior changes from being civilized to being barbaric. Ralph’s character development in particular, shows how trauma and hardship can change a person’s outlook on life. Ralph’s Initial Optimism and gradual Descent into Darkness When Ralph first finds himself on the island, he is optimistic about their situation and confident that they will be rescued. He takes charge, organizes the boys, and establishes a set of rules to ensure their survival. As time passes, however, Ralph begins to lose faith in their rescue and starts to succumb to the same savagery that governs the other boys on the island. Ralph’s descent into darkness is gradual and is a result of the harsh realities and demands of their island existence. He grows increasingly frustrated with the group’s lack of discipline and direction, and as his control weakens, the other boys start to challenge his authority. The boys start to hunt and kill animals and create their own primitive form of government, which is led by Ralph’s enemy, Jack. Ralph finds himself alone and isolated, with even his closest ally, Piggy, turning against him. Ralph’s Redemption and Return to Civilization Despite his struggles, Ralph eventually overcomes his despair and manages to redeem himself. He starts to work on improving his leadership skills and making amends with the other boys. He realizes that if he wants to maintain his position as a leader, he needs to find a way to unite the boys, rather than let them become divided. Ralph’s redemption ultimately leads him back to civilization, both literally and figuratively. He refuses to join in the hunt and kill of one of the boys, and this decision sparks an unlikely rescue from a passing naval ship. When he returns to the real world, he is a changed boy, who has a greater appreciation for the corrupting power of savage instincts and how easily man can revert to a primitive state. In conclusion, Ralph’s experience on the island changed him from a naïve, optimistic boy into a hardened, realistic survivor. Golding’s novel shows how circumstances can bring out the worst in people and how even the most civilized of us can succumb to our primal urges in the absence of guidance and authority. Before the Island Ralph is introduced to the readers as a confident and charismatic character. He is a natural leader who is at ease with being in charge. He is well-built, with fair hair and is described as “the boy with fair hair”. This implies that he is important and stands out from the other boys. Ralph’s prior experiences in life have equipped him with the skills he needs to survive on the island. He is able to think on his feet and use his initiative when necessary. Ralph’s upbringing has also had an impact on his character. He has been brought up in a structured and orderly environment, which has taught him the importance of rules and discipline. He is mature beyond his age and understands the value of responsibility and accountability. Ralph’s background has shaped him into a natural leader who is respected by his peers. He has a sense of fairness, which is evident in the way he treats the other boys on the island. He tries to be inclusive and doesn’t discriminate against anyone. Ralph’s personality is a combination of traits that make him well suited to a leadership role. He is confident, decisive and has an innate sense of leadership. He is also compassionate and cares about the wellbeing of others. His natural charisma makes him well-liked and he is able to connect with the other boys on the island. Ralph’s behavior before being stranded on the island is indicative of the type of person he is. He is rational, composed and forward-thinking. He is a natural problem-solver and is able to work under pressure. He is also resilient and determined, which are qualities that serve him well on the island. Ralph’s character and behavior before being stranded on the island have prepared him for the challenges that lie ahead. Initial Responses to the Island At the beginning of the novel Lord of the Flies, when Ralph first arrives on the island, he is overwhelmed and confused by his situation. He is in a new and unfamiliar environment and has no idea how he got there or how he is going to get off. Ralph’s initial reaction is one of disbelief and shock. He can’t believe that he is stranded on an uninhabited island with a group of boys he doesn’t know. He is also concerned about the safety of the group and tries to assess the situation. One of the first things that Ralph does is to try and find out if there are any adults on the island. He even climbs up to the top of a hill in an attempt to see if there are any boats or ships nearby. When he realizes that there aren’t any, he becomes more anxious and starts worrying about how they are going to survive on the island. Ralph’s first priority is to organize the boys and establish some sense of order. He decides to hold a meeting and elect a leader. This shows that Ralph is a natural leader and has a sense of responsibility. At this stage, he is focused on survival and keeping the group together. Despite his anxiety and confusion, Ralph also shows a sense of adventure and excitement about being on the island. He is curious about the island and wants to explore it. He is also excited about the prospect of living without any adult supervision and is optimistic about the future. In conclusion, Ralph’s initial responses to the island show that he is a natural leader who is concerned about the safety and well-being of the group. He is also curious and optimistic about the future, despite the difficult situation that they are facing. Assumption of Leadership Ralph’s character changed drastically since landing on the deserted island in William Golding’s novel “Lord of the Flies.” Prior to their plane crash, Ralph was a carefree, confident, and well-mannered boy. Upon arrival on the island, he is immediately thrust into a leadership position as the oldest boy among the survivors. At first, Ralph struggled to assert his authority and gain the respect of the other boys. However, as he started to recognize the dangers and challenges that faced the group, he took on the responsibility of keeping them all safe and secure. Ralph’s leadership began with his willingness to take the initiative and make a plan for rescuing them from the island. He built a signal fire on the top of the mountain, which was to be kept burning day and night so that passing ships would see them and rescue them. Ralph was initially very enthusiastic about his leadership role. He was happy to have a specific purpose and something to do to keep himself busy and useful. However, as time passed and the boys became more savage, Ralph’s responsibilities grew increasingly difficult. He had to make critical decisions, such as how to communicate with the other survivors and how to maintain order and discipline among the boys. One of the most notable moments in Ralph’s assumption of leadership was when he called a meeting with the boys to discuss the importance of the signal fire. Some of the boys had let the fire go out, and Ralph was furious because they had missed the opportunity to be rescued. He made it clear to the boys that the signal fire was their top priority and that they needed to keep it burning at all times. In addition to leading the boys, Ralph also faced personal challenges that tested his character. He was forced to confront his own fears and weaknesses as the situation on the island worsened. He also had to deal with the power struggle between himself and Jack, who was more ambitious and authoritarian. Despite the challenges, Ralph remained a calming and stabilizing influence on the group of boys. Overall, Ralph’s assumption of leadership was an important turning point in the novel. His growth from a naive and carefree boy to a confident and responsible leader was significant and showed the importance of strong leadership in times of crisis. Despite the challenges he faced, Ralph remained committed to his fellow survivors and worked hard to ensure their safety and well-being. From the moment Ralph is elected as the leader of the stranded boys in William Golding’s novel Lord of the Flies, he is burdened by added responsibilities that he never had to deal with before. Ralph is a character who transforms from an innocent boy to a responsible leader during his stay on the island, as he struggles to survive and leads the group towards rescue. Firstly, Ralph has to take charge of the group’s safety and well-being by creating a system of rules. He recognizes the need for establishing rules, such as building shelters, maintaining a fire, and keeping the island clean, to preserve their chance of survival. He also understands the importance of order to maintain peace and harmony in the group. As a result, Ralph becomes a law-maker of sorts and has to enforce his rules among the boys. This new-found power is something that he has never experienced before and it takes some time for him to get used to it. Secondly, Ralph has to deal with the emotional and psychological needs of the boys. He has to be the one who motivates them when they are feeling down or when they lose hope. When the boys are excessively scared of the beast, he takes control of the situation and tries to calm them down by making logical arguments. This shows us how Ralph gradually rises up to become a figure of authority, amidst a group of frightened and confused human beings. Thirdly, Ralph has to make decisions that can impact the future of the group. He has to be pragmatic and rational while dealing with crises such as the lack of food, water or rescue. He has to make difficult choices, such as the decision to focus on building the fire instead of going hunting or to send a signal fire instead of hunting a pig, in order to increase their chances of getting rescued. These decisions show us Ralph’s growing maturity and sense of responsibility as he puts the needs of the group ahead of his own. Fourthly, Ralph has to handle the power struggles that emerge within the group. As he continues to lead the boys, he realizes that some are not happy with his leadership and seek to undermine him. Jack, in particular, becomes a source of tension for Ralph as he seeks to establish himself as an alternative leader. This leads to conflicts and fighting, which Ralph has to put an end to, if he wants to maintain order among the boys. Lastly, Ralph has to lead by example. He has to work harder than the other boys, in terms of building the shelters, looking for food and maintaining the fire. He has to be the one to keep his cool and not lose his temper, despite facing tremendous pressure. All these qualities make Ralph a great leader, as he sets an example for the others to follow. In conclusion, Ralph’s character undergoes a significant change, as he faces new challenges and added responsibilities on the island. He transforms from an overwhelmed and frightened boy to a confident and responsible leader. Ralph takes charge of the group’s safety, emotional needs, decision-making, power struggles, and sets an example for the others to follow. His journey exemplifies how life’s challenges can make a person grow and become a better version of themselves. Struggle to Sustain Order Ralph, the protagonist of William Golding’s novel, ‘Lord of the Flies,’ encounters several challenges while attempting to maintain order in a group of young boys stranded on an uninhabited island. One of the most significant challenges Ralph faces is dealing with conflicts between the boys. At the start, Ralph is elected as the leader by the boys, and his main responsibility is to ensure that everyone follows the rules of the island and that the group stays united. However, this turns out to be a daunting task as he faces pushback from several boys who do not want to follow his leadership. Ralph faces one of his first conflicts when Jack, one of the older boys, chooses to go hunting instead of helping with building shelters as agreed upon. Ralph tries to reason with Jack, but he does not listen, causing tension between him and Ralph. This situation creates a divide in the group, as some boys follow Jack while others stick with Ralph. Another challenge Ralph faces is the boys’ reckless behavior, which threatens the safety of the group. When the boys light a fire to signal for help, they accidentally start a forest fire, endangering everyone on the island. Ralph becomes extremely distressed and frustrated with the boys’ lack of responsibility and their inability to think critically. Perhaps the most substantial challenge that Ralph faced in maintaining order on the island was dealing with the boys’ primal behavior. As time goes by, the boys’ primal instincts begin to take over, and they become more and more savage. They start to neglect Ralph’s rules and the order he tries to maintain, leading to chaos and violence. The savage behavior culminates in the murder of Simon, one of the boys on the island, by a group of the boys who mistake him for the ‘Beast.’ Ralph tries his best to prevent the boys from succumbing to their primal desires, but ultimately fails. He realizes that he is powerless in the face of their wild behavior and fears for his safety and survival on the island. In conclusion, Ralph faces immense challenges in maintaining order on the island as the boys’ behavior becomes increasingly irrational and savage. Despite his best efforts, his attempts to maintain order fall on deaf ears, ultimately leading to his loss of power and control and causing his downfall. Increasing Despair and Isolation At the start of “Lord of the Flies,” Ralph was optimistic and confident in his ability to lead. However, as events on the island became more dire and some of the boys descended into barbarism, Ralph grew increasingly hopeless and isolated. The first major blow to Ralph’s leadership came when he failed to keep the signal fire going, allowing a ship to pass by without noticing them. The realization of this failure, combined with the fact that some of the boys had abandoned their responsibilities to hunt and play, caused Ralph to sink into despair. As the situation on the island grew more dangerous, Ralph began to feel more and more isolated from his peers. This was particularly evident in his relationship with Jack, who became increasingly violent and irrational. Whereas Ralph had hoped to diffuse conflicts and maintain order, Jack’s bloodlust and charisma drove a wedge between them. As Ralph became more isolated, he also became more introspective. He began to question his own leadership abilities and to feel overwhelmed by the responsibility of keeping the boys alive. In one particularly poignant scene, Ralph laments to Piggy: “I know there isn’t no beast—not with claws and all that, I mean—but I know there isn’t no fear, either.” Ralph’s increasing sense of desperation and isolation culminated in the final confrontation with Jack, when he is forced to flee for his life. By this point, Ralph has lost all hope of being rescued and has no clear path forward. He is alone and vulnerable, forced to rely on his wits and his own strength to survive. In conclusion, Ralph’s journey on the island is marked by a gradual descent into despair and isolation. He starts out full of hope and confidence, but as the situation worsens and the other boys grow more savage, he becomes increasingly disillusioned and disconnected. Ultimately, Ralph is a tragic figure, a would-be leader who is ultimately unable to save either himself or his fellow survivors. Self-Discovery and Maturity From the moment Ralph was elected as the leader of the boys, he had to face a series of challenges that tested his strength and character. One of the significant changes that Ralph underwent on the island was his self-discovery. Being away from his family and the civilized world, Ralph had to learn how to survive with limited resources, which helped him discover some of his skills. Ralph’s early interactions with Piggy and the other boys were immature, and he focused on playing games and having fun rather than looking for ways to leave the island. However, as the situation on the island deteriorated, he had to step up as a leader and make difficult decisions that required maturity. For instance, Ralph recognized the importance of keeping a signal fire burning to attract possible rescuers, which showed his growing sense of responsibility. Ralph’s encounters with the Beast and his eventual understanding that it was a figment of their imagination also enabled him to become more mature. He realized that the boys needed to work together with Piggy to construct a shelter and create a better organized society. As a result of his experiences, Ralph was able to exercise greater responsibility, which helped the boys survive on the island for an extended period. Furthermore, Ralph’s maturity as a character was evidenced by his ability to manage conflict and handle crises on the island. He was capable of communicating effectively with the other boys and soothing their fears and doubts whenever tensions arose. Even when the boys split into two groups, Ralph was able to maintain his level-headedness and remained committed to finding a way out of the island. Finally, Ralph’s sense of self-discovery was largely driven by his contact with nature. Instead of viewing the island solely as a place of confinement, Ralph took advantage of it to explore and learn about its hidden treasures. His excursions into the woods led him to discover the mysterious rock that he and Piggy used to make a fire and the conch that became a potent symbol of order and civilization. A Conclusion Focusing on How Ralph’s Experiences on the Island Led to His Self-Discovery and Maturity as a Character As Ralph navigated the challenges of island life, he demonstrated exceptional growth and transformation as a character. From an immature, carefree boy, he became a more responsible and committed leader who valued the opinions and needs of his peers. Ralph’s self-discovery and maturity were the result of a combination of factors, including his experiences with the Beast, his encounters with nature, and his ability to maintain calm in crisis situations. Ralph’s experiences on the island helped him to gain a deeper understanding of himself and the world around him. He learned how to survive under harsh conditions, how to work efficiently with others to achieve common goals, and most importantly, how to face his fears. His self-discovery and maturity were hard-won, but they made him a better person and a stronger leader. Ralph’s journey on the island serves as a powerful testament to the transformative power of adversity and the human capacity for growth and change.

<urn:uuid:45dcabaf-7b8a-4abf-8cb7-ffb7fbe49dc6>

CC-MAIN-2023-40

https://nawafnet.net/how-has-ralph-changed-since-being-on-the-island.html

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506623.27/warc/CC-MAIN-20230924055210-20230924085210-00076.warc.gz

en

Ever wonder how prehistoric artists created stunning works of art with only the most straightforward tools and materials? Let’s take you back to 30,000 and 500 BCE when early humans began expressing their creativity through art. They used readily available – rock, clay, bone, ivory, and even pigments like ochre, charcoal, and manganese. They employed various techniques, from engraving to relief, painting, stippling, and perspective. Notable examples include the Running Horned Woman, a sculpture from a camelid sacrum, and the Beaker with ibex motifs, an ancient ceramic pottery piece. Their art tells us they had a deep understanding of their environment and a capacity for symbolic thinking. So, get ready as we delve into the fascinating world of artistic techniques in prehistoric times. Above: Lascaux caves (Montignac, Dordogne, France) / Public domain / Wikimedia Commons Serranía de la Lindosa, northwestern Colombia / Wikimedia Commons Detail of a petroglyph depicting a Bubalus Antiquus of Saharan rock art. Located at Tin Taghirt / Wikimedia Commons Malta Valletta, National Museum of Archaeology / Wikimedia Commons Stone Age Art You’d be amazed to know that Stone Age Art, despite its primitive tools and materials, showcased impressive artistic techniques. The artists used everything they had — bones, shells, stones, and pigments from natural elements like ochre and charcoal. They’d shape, carve, or peck their medium, creating functional and aesthetic pieces. They’d engrave designs into rock or bone, create relief sculptures in stone, and mold clay by hand. Some even mastered perspective, a technique that wouldn’t be ‘officially’ developed until thousands of years later. Their work, a testament to the innate human drive to create, still captivates us today. Imagine being a prehistoric artist, your palette filled with earthy pigments like ochre and charcoal, and your canvas the walls of a cave or a piece of bone! You’d carve intricate designs into your chosen medium using simple tools like stone or bone. Your brushes might be twigs, feathers, or even your fingers, and you’d mix your pigments with animal fats to create a paint that could withstand the test of time. You’d form clay by hand and fire it to harden for sculptures. Sometimes, you’d even use a camelid sacrum, a bone known for its mask-like shape, to create a work of art. You’d also use shells, ivory, and bronze as your artistry evolved with the introduction of metalworking. Isn’t it astounding how these ancient creators, using the simplest of tools, could etch, peck, and carve their stories, beliefs, and imaginations into eternity? They were painted with simple brushes made from twigs, feathers, or horsehair. Sometimes, they’d even use their fingertips, moss, or lichen to apply the pigments they’d made from dirt, charcoal, spit, and animal fat. But they didn’t just brush or smear their paint onto surfaces. They also sprayed it, using hollow bones in a technique remarkably similar to today’s airbrushing. When it came to engraving, they used sharp stones or bones to create intricate designs on rock, bone, or shell. They even used fire to create relief sculptures by burning away parts of the surface. Engraving and Relief With merely sharp stones or bones in hand, these ancient artisans skillfully etched intricate designs, capturing their narratives in the hardness of rock, the fragility of shell, or the sturdy resilience of a bone. They’d carve deep grooves into the surface, creating what we now call an engraving. Imagine holding a piece of bone, and with a sharp stone, you carefully etch a scene of a hunt or maybe a gathering. Relief was another popular method. Instead of carving into the material, you’d chip away at the surroundings, raising the desired image. This technique gave the artwork a three-dimensional effect, making it feel more lifelike. Each groove, each notch, and each raised figure was a testament to their artistic prowess and a precious peek into their prehistoric lives. Painting and Stippling You’d be amazed at how they mastered the art of painting and stippling, even with their limited resources. They’d mix dirt, charcoal, animal fat, and spit to create their paints. They’d then apply these paints using fingers, twigs, feathers, and horsehair brushes. They’d use hollow animal bones for a more spray-like effect, similar to how we use airbrushes today. They even created shades and color variations using iron oxide pigments like limonite and hematite. As for stippling, they’d often use this technique in combination with painting to add texture and depth to their creations. It’s truly remarkable how they could utilize what they had to create such vivid and lasting works of art. Carving and Modeling Moving on from painting and stippling, let’s delve into carving and modeling. These techniques were essential in prehistoric art and utilized to create three-dimensional representations of the world around them. Artists used stone, bone, clay, and ivory to carve intricate designs and model lifelike figures. They’d create their tools from flint or other hard stones, shaping them to perfect their craft. Carving was a labor-intensive process, requiring both patience and skill. They’d chip away at materials, slowly revealing the image hidden within. Modeling, on the other hand, was a more immediate practice. Artists could handly shape clay or other malleable materials, creating figures, vessels, or other objects. These techniques offered a tactile way to express artistic ideas. Rock Art and Petroglyphs Let’s not forget about rock art and petroglyphs, which offer a fascinating glimpse into our ancient ancestors’ worldviews and spiritual beliefs. These art forms, often carved or pecked into rock surfaces, could be found worldwide, from the caves of France to the cliffs of southwestern America. They were created using simple tools and techniques, yet they’ve stood the test of time due to their resilience. You’ll see depictions of humans, animals, and symbols, each carrying its own potential meaning. Interpreting these images can be tricky, but it’s believed they served various purposes, from storytelling and teaching to spiritual or ritualistic functions. So next time you’re exploring ancient art, remember, there’s more than meets the eye! Venturing into the depths of ancient caves, you’ll discover many paintings that unlock the mysteries of our distant past. These prehistoric masterpieces provide a glimpse into ancient societies’ lives, cultures, and beliefs. Using primitive tools, our ancestors applied paint made of dirt, charcoal, spit, and animal fat onto cave walls. Techniques such as brushing, smearing, dabbing, and spraying created stunning visuals. Imagine using your fingertips or a horsehair brush to paint! Even more fascinating, they used hollow bones to spray paint, similar to a modern airbrush. The use of iron oxide pigments, including limonite and hematite, produced a variety of earthy colors. These cave paintings are precious remnants of human artistic expression in prehistoric times. Bone and Ivory Sculptures Dig a bit deeper, and you’ll uncover the exquisite world of bone and ivory sculptures crafted with remarkable skill by our ancient forebears. These early artists made the most of the materials, transforming animal remains into objects of beauty and significance. Imagine them laboring over a piece of mammoth ivory or a discarded bone, chipping away with stone tools to reveal a hidden shape. They created figures, masks, and even musical instruments, imbuing each piece with a meaning we can only guess today. These sculptures, often incredibly detailed and surprisingly lifelike, provide a fascinating glimpse into the lives and imaginations of prehistoric people. So, next time you see a bone or ivory sculpture, take a moment to appreciate the skill and creativity of our artistic ancestors. Isn’t it fascinating to think about how our earliest ancestors left their mark on stone and clay? As they learned to shape and mold this pliant material, they began creating the first ceramic pottery. Thousands of years ago, you could imagine them forming the clay with their hands, inscribing it with symbols or images that held significance for them. Once shaped and decorated, the pottery was left to harden in the sun or fired in makeshift kilns. The process required patience and skill, but the results were worth it. These ceramic pieces, sometimes ornate or simple, served their daily needs and bore witness to their artistic impulse, giving us priceless insights into their lives and cultures. Bronze and Metalworking Imagine the moment our ancestors first discovered the transformative power of heat on raw metal, forever changing the course of their creative expression. It was during the Bronze Age when this revelation took place. They began crafting intricate items out of bronze, gold, and silver. The process wasn’t easy; it required heating the metal until it was malleable, shaping it while it was hot, and finally cooling it to maintain its form. The result? Stunning sculptures, ornate jewelry, and even weapons adorned with artistic designs. These creations told stories, honored deities, and marked significant events. Imagine wielding a bronze sword etched with symbols of your clan or wearing a gold pendant shaped like your totem animal. That’s the power of metalworking in prehistoric art. You’ve probably seen some pretty weird figures carved from stone or etched into cave walls, right? Well, these aren’t just random doodles – they’re anthropomorphic figures, a fancy term for artworks with human-like characteristics. Prehistoric artists used these figures to express their understanding of the world and their place within it. They could’ve been religious symbols, totems, or even early storytelling tools. It wasn’t easy, mind you. They had to chip away at stone or bone using other, harder stones. The details were often added using sharp tools or pigments from ground minerals and charcoal. But despite the challenges, they left behind a legacy of skill and creativity that fascinates us today. So next time you see one, remember – it’s not just a doodle. It’s prehistoric art. Jade Cong Symbolism After exploring the mysterious realm of Anthropomorphic Figures, let’s turn our curiosity to another fascinating aspect of prehistoric art – the Jade Cong. These intriguing objects, carved from jade, were used in ceremonial contexts during ancient China. They’re often discovered as grave goods, signifying a deep connection between the earthly realm and the afterlife. The Jade Cong’s unique tube-like shape symbolizes unity and continuity. This isn’t just a piece of art; it’s a window into a long-gone belief system. The craftsmanship behind these ritualistic artifacts showcases ancient artisans’ technical skills and spiritual beliefs, blending artistry and faith. So, next time you see a Jade Cong, remember it’s more than just an artifact; it’s a piece of human history. Terra Cotta Fragments Dig into the rich history behind Terra Cotta fragments, and you’ll find they’re not just pieces of pottery but remnants of ancient civilizations, each with a unique story to tell. These broken bits of fired clay were once part of larger vessels, statues, or structures. They’ve been discovered in archaeological sites worldwide, from China’s Terracotta Army to ancient Greece and Rome. Their creation required a mastery of skills, such as shaping clay by hand, and firing it in a kiln to harden. The intricate details often etched onto these fragments reveal much about the people who made them: their beliefs, daily life, and artistic techniques. As you hold a fragment, you’re not just having a piece of pottery – you’re holding history. Imagine standing in the shadow of a megalithic monument, feeling the weight of history in every stone. These prehistoric structures, like Stonehenge in England or the Standing Stones of Callanish in Scotland, were marvels of engineering and artistry. Prehistoric artists didn’t just carve into rock; they shaped massive stones, positioning them in precise configurations to align with celestial events. They’d etch intricate symbols into the stone’s surface – a form of communication we’re still trying to decipher. You’d be in awe of their ability to create imposing structures without modern tools. Remember, these monuments weren’t just art but spiritual and communal spaces. They held a sacred significance that transcended their aesthetic appeal. Prehistoric art was a blend of technique, spirituality, and community. Spirals and Patterns While standing in front of these ancient monuments, you can’t help but notice the spirals and patterns etched into the stone, a testament to the sophistication and ingenuity of old artists. These designs, often seen in places like Newgrange in Ireland, were carved using rudimentary tools, yet they exhibit high precision and symmetry. They’re not just for decoration. Many believe they have religious or astronomical significance, possibly relating to the sun’s cycle. As you trace the spirals with your eyes, you’re connecting with the past, with people who lived thousands of years ago. You marvel at their knowledge, creativity, and ability to create such enduring art. It’s a humbling experience, a reminder of human expression’s long, rich history. Moving away from spirals and patterns, let’s delve into the fascinating world of prehistoric female statues. These figures, often called ‘Venus figurines,’ are some of the most intriguing remnants of prehistoric art. Crafted from various materials like clay, bone, and stone, they depict women with exaggerated features, often associated with fertility. These statues are thought to be created by women themselves, possibly as a form of self-representation or as fertility charms. They’ve been discovered across many ancient cultures, from the Venus of Willendorf in Europe to the Tan-Tan figurine in Morocco. Each one is unique, telling a different story about the society that created it. So, even in prehistoric times, art was a powerful tool for self-expression and communication. You’ve been marveling at statues and patterns, but now, let’s explore the incredible world of animal carvings. These were a significant aspect of prehistoric art. Prehistoric artists skillfully depicted various animals using whatever materials were on hand, such as bone, stone, or wood. Think of the Lascaux Cave in France, where stunning images of horses, bulls, and deer come to life on the walls, their forms masterfully rendered with primitive tools. Or consider the intricate camelid sacrum, carved to resemble a wild canine. These pieces weren’t just art but a way to understand and connect with the world. So, next time you see an animal carving, remember the ancient hands that crafted it and the timeless human desire to capture the essence of the wild. Masks and Musical Instruments Delving into the realm of masks and musical instruments, it’s fascinating to comprehend how ancients used these creations not just for entertainment but also as powerful tools for communication and spiritual rituals. Imagine shaping a camelid sacrum into a mask using stone tools or crafting a flute from bird bone. These weren’t merely arts and crafts activities. Each piece was imbued with meaning, often representing deities or ancestral spirits. They’d use these masks and instruments in ceremonial dances, religious rites, and community celebrations. The resonating sounds of the flute or the striking appearance of a mask could invoke a sense of connection with the divine, the unseen. It’s a testament to how art, in all its forms, has always been a bridge between us and the ineffable. Let’s dive into the vibrant tapestry of cultural diversity, where every thread tells its unique story of human creativity, resilience, and ingenuity. Unveil the rich narrative of prehistoric art, a testament to humanity’s timeless ability to express itself. You’ll discover how cultural diversity was reflected even then. Different regions, from the caves of France to the rock shelters of India, all contribute to the palette of prehistoric art. Each culture used art to interpret and influence their world, using the available materials and techniques. From the Sulawesi cave paintings to the anthropomorphic stelae of ancient Egypt, you’ll find that even in the dawn of mankind, our ancestors were as diverse and complex as we are today. Their art remains a vibrant testament to this. Evolution of Artistic Styles After exploring the rich tapestry of cultural diversity in prehistoric times, it’s exciting to delve into the evolution of artistic styles during these periods. Remember, these ancient artists didn’t have the luxury of paint tubes and art stores. They created masterpieces with what they had on hand: natural pigments, animal bones, and cave walls. They evolved their techniques, experimenting with carving, engraving, and painting. These artists tested the waters of perspective, playing with cross-hatching and stippling. They even invented their form of airbrushing, spraying pigments using hollow bones. As the ages passed, new materials like bronze and silver entered the scene, allowing for more intricate design work. Considering how these early styles laid the foundation for all art that followed is breathtaking. Influence of Written Language Imagine the art world shifting dramatically as written language emerged, transforming how you could express and document your experiences, ideas, and beliefs. It’s like a new dimension opening up, allowing you to tell stories and convey complex ideas through symbols and characters. This was a monumental shift in prehistoric times, sparking an evolution in artistic techniques. Suddenly, you’re not just creating images; you’re writing narratives, shaping cultures, and defining identities. Once based primarily on visual representation, art evolved to incorporate written elements, blending imagery with language. This fusion led to a more profound expression of human thought and emotion. Remember, it’s not just about art being seen but also read. The dawn of written language fundamentally changed the landscape of art, creating a dynamic canvas for human creativity. Role of Women Artists You’ve got to appreciate the groundbreaking role of women artists in prehistoric societies, who not only contributed to the creation of delicate pottery, textiles, and ornate jewelry but also likely had a hand in producing some of the world’s earliest cave paintings and figurines. These women were artists before the term existed, pouring their creativity and life experiences into their works. They were instrumental in depicting everyday realities, spiritual beliefs, and even their bodies, as seen in the Venus figurines. It’s an incredible thought that they were helping to forge artistic expression thousands of years ago. So, while the art world may have forgotten these pioneering women, their influence resonates in every brush stroke, every carved line, and every crafted bead. Isn’t it mind-boggling to think about how we can witness the artistic expressions of societies that existed thousands of years ago? Yet, it’s a sobering fact that preserving these ancestral masterpieces is an ongoing battle against time and the elements. These ancient artworks, exposed to natural wear and tear, are at constant risk. Deterioration caused by humidity, temperature fluctuations, and even the light used to illuminate them for study can lead to irreversible damage. Additionally, human activities, intentional or not, pose a significant threat. Graffiti, vandalism, and even the carbon dioxide from our breath can negatively impact the art. As a result, many prehistoric sites are now closed to the public, and replication techniques like 3D modeling are being used to allow for study without harm. Art in the Iron Age As you delve deeper into the Iron Age, you’ll be captivated by the evolution of human creativity and the rise of intricate anthropomorphic sculptures. This period marked a significant shift in artistic expression, focusing on creating figures with human characteristics. Unlike earlier eras, artists in the Iron Age started to depict human forms more realistically, using iron tools to carve and shape their works with remarkable detail. Often, these sculptures were designed to honor gods or commemorate warriors, reflecting the spiritual beliefs and societal structures of the time. So, as you explore the art of this era, you’re not just appreciating its aesthetic appeal but also gaining insight into the complex cultures and societies that thrived during the Iron Age. You’ve journeyed through the fascinating world of prehistoric art, exploring the ingenuity and creativity of our ancient ancestors. From engraving and relief to painting and stippling, they harnessed the materials around them to create masterpieces. Women played pivotal roles, and the emergence of written language left a lasting influence. Despite preservation challenges, these artifacts persist, telling a story of humanity’s earliest artistic endeavors. Imagine what they could’ve achieved with today’s technology! Follow us on Pinterest for more tips, tutorials, and reviews for creatives!

<urn:uuid:b9286339-97be-4e14-9af4-26586942faa0>

CC-MAIN-2023-40

https://proactivecreative.com/artistic-techniques-in-prehistoric-times/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233511369.62/warc/CC-MAIN-20231004120203-20231004150203-00476.warc.gz

en

As a passionate proponent of the Montessori philosophy, I am thrilled to explore the captivating connection between this educational approach and the cognitive growth of toddlers. This article delves into the remarkable ways in which Montessori principles and materials stimulate young minds. From problem-solving skills to language development, mathematical thinking to creativity, the impact of Montessori philosophy on cognitive development is profound. Join me as we uncover the fascinating realm where Montessori meets cognitive growth in toddlers. - The Montessori approach emphasizes hands-on learning and sensory development in toddlers. - The use of Montessori materials promotes problem-solving skills and logical thinking. - Independence and self-directed learning foster cognitive growth in toddlers. - Montessori education encourages critical thinking and problem-solving abilities through active engagement and practical life activities. The Montessori Approach to Cognitive Development I believe the Montessori approach fosters cognitive growth in toddlers through its emphasis on hands-on learning and self-directed exploration. One key aspect of the Montessori philosophy that contributes to this cognitive development is its focus on sensory development. The Montessori classroom is designed to provide a rich sensory environment, with materials that engage all the senses. Through activities such as pouring, sorting, and touching different textures, toddlers are able to explore and understand the world around them in a concrete and meaningful way. This hands-on approach to learning not only stimulates their senses but also enhances their cognitive abilities, as they’re actively involved in the learning process. Additionally, the Montessori approach nurtures the development of executive function skills in toddlers. Executive function skills refer to a set of cognitive processes that enable individuals to plan, organize, and regulate their behavior. In a Montessori classroom, children have the freedom to make choices and engage in self-directed learning. This autonomy allows them to develop important executive function skills such as decision-making, problem-solving, and self-control. By providing a structured environment that supports individual exploration and decision-making, Montessori education promotes the development of these crucial cognitive skills in toddlers. Understanding the Role of Montessori Materials in Cognitive Growth Using Montessori materials helps toddlers develop their cognitive skills. These materials are specifically designed to stimulate and engage young minds, promoting the development of essential cognitive abilities. Here are four ways in which Montessori materials contribute to cognitive growth: Hands-on learning: Montessori materials are designed to be manipulated and explored by toddlers. This hands-on approach allows children to actively engage with the materials, promoting problem-solving skills and critical thinking. Sensorial experiences: Montessori materials often incorporate sensory elements, such as different textures, colors, and shapes. These sensory experiences help toddlers develop their senses, enabling them to make connections and understand the world around them. Sequential and logical thinking: Montessori materials are carefully designed to follow a logical sequence of activities. This sequential approach helps toddlers develop their ability to follow instructions, understand cause and effect relationships, and think in a systematic and organized manner. Independence and self-directed learning: Montessori materials are designed to be self-correcting, allowing toddlers to independently identify and correct their mistakes. This fosters a sense of autonomy and encourages self-directed learning, promoting cognitive growth and problem-solving skills. Overall, Montessori materials play a crucial role in the cognitive development of toddlers. By providing hands-on, sensorial experiences and promoting logical thinking and independence, these materials help lay a strong foundation for future cognitive growth and academic success. Enhancing Problem-Solving Skills Through Montessori Education Enhancing problem-solving skills is a key aspect of Montessori education. Research has shown that the Montessori approach fosters critical thinking and problem-solving abilities in toddlers. Montessori and Cognitive Development By incorporating Montessori principles, toddlers can actively engage in their cognitive development. The Montessori approach emphasizes hands-on learning and encourages independence, which has a significant impact on brain development. Here are four ways in which Montessori education promotes cognitive growth in toddlers: Sensorial Exploration: Montessori classrooms provide a variety of materials and activities that engage all the senses. This sensory-rich environment stimulates neural connections and enhances cognitive abilities. Self-Directed Learning: Montessori education allows toddlers to choose their activities and work at their own pace. This autonomy fosters problem-solving skills and critical thinking. Practical Life Activities: Practical life activities, such as pouring, buttoning, and sweeping, develop fine motor skills and promote cognitive development. These activities also encourage problem-solving and decision-making. Language Development: Montessori classrooms offer a language-rich environment where toddlers are exposed to a wide range of vocabulary and language activities. This exposure enhances their language skills and promotes cognitive growth. By actively engaging in these Montessori practices, toddlers develop essential cognitive skills that lay the foundation for problem-solving abilities in their later years. Now, let’s explore the topic of problem-solving in toddlers. Problem-Solving in Toddlers I love watching how toddlers solve problems on their own. It’s fascinating to see their problem-solving techniques and witness their cognitive growth strategies in action. Research has shown that problem-solving plays a crucial role in a child’s cognitive development. It helps them develop skills such as critical thinking, creativity, and decision-making. Toddlers use various strategies to solve problems, including trial and error, observation, and imitation. By allowing toddlers to explore and engage in problem-solving activities, we’re providing them with opportunities to develop their cognitive abilities. Montessori philosophy recognizes the importance of problem-solving in a child’s development and incorporates it into its curriculum. Montessori classrooms provide materials and activities that promote problem-solving skills, encouraging children to think independently and find solutions. Montessori for Critical Thinking Observing toddlers in a Montessori classroom, I’ve noticed how critical thinking is fostered through hands-on activities and materials. In this environment, children are encouraged to explore, experiment, and problem solve, which helps develop their critical thinking skills. Here are four ways Montessori promotes critical thinking: Child-centered approach: Montessori teachers provide individualized attention and encourage children to think independently, fostering their problem-solving techniques. Hands-on materials: Montessori classrooms are equipped with materials that engage all the senses, allowing children to actively manipulate objects and think critically about cause and effect relationships. Freedom within limits: Montessori philosophy provides children with the freedom to choose their activities, promoting autonomy and decision-making skills. Reflection and self-assessment: Through regular reflection and self-assessment, children are encouraged to analyze their own thinking and problem-solving processes, fostering critical thinking skills. Overall, Montessori education provides a nurturing environment that nurtures and enhances children’s critical thinking abilities, setting a strong foundation for future academic and personal success. The Importance of Practical Life Activities in Cognitive Development Engaging in practical life activities plays a vital role in the cognitive development of toddlers. These activities not only help children develop important life skills but also contribute to their overall cognitive growth. When toddlers engage in practical life activities, they are given the opportunity to explore, problem-solve, and develop their independence. These activities provide a hands-on learning experience where children can actively engage their senses and develop their fine motor skills. One of the key benefits of practical life activities is that they promote the development of executive functions, such as attention control, working memory, and self-regulation. Toddlers learn to focus on a task, follow sequential steps, and complete activities independently. This sense of independence is crucial for their cognitive growth as it helps them develop confidence and a sense of accomplishment. To better understand the benefits of practical life activities in cognitive development, let’s take a look at the table below: |Practical Life Activity||Benefits| |Pouring water||Develops hand-eye coordination and concentration| |Dressing oneself||Enhances fine motor skills and fosters independence| |Sorting objects||Improves cognitive skills such as categorization and problem-solving| |Setting the table||Develops organizational skills and spatial awareness| |Planting seeds||Promotes sensory exploration and understanding of cause and effect| Incorporating practical life activities into a toddler’s daily routine not only helps them acquire important life skills but also boosts their cognitive development. By encouraging independence and providing opportunities for hands-on learning, we can support their cognitive growth and set a strong foundation for their future learning. Montessori Language Curriculum and Cognitive Development The Montessori language curriculum plays a vital role in the cognitive development of children. Through various activities and materials, children are exposed to a rich language environment that fosters their language skills and cognitive abilities. Research has shown that Montessori’s approach to language education enhances vocabulary acquisition, reading comprehension, and critical thinking skills, ultimately shaping children into effective communicators and lifelong learners. Language and Cognition Link I can see how language development in toddlers is closely tied to their cognitive growth. Research has shown that language acquisition plays a significant role in shaping cognitive development in young children. Here are four key ways in which language and cognition are linked: Language promotes cognitive flexibility: As toddlers learn new words and concepts, their ability to think flexibly and adapt to new situations expands. Language enhances problem-solving skills: Through language, toddlers can express their thoughts and seek solutions to problems, which aids in the development of critical thinking and problem-solving abilities. Language facilitates memory and attention: The use of language helps toddlers remember information and stay focused on tasks, supporting the development of memory and attention skills. Language supports abstract thinking: As toddlers acquire more language skills, they can engage in more complex thinking and understand abstract concepts. Understanding the close connection between language acquisition and cognitive development is crucial in supporting toddlers’ overall growth and learning. With this foundation, we can now explore how Montessori’s philosophy impacts the development of young children. Montessori’s Impact on Development By following Montessori’s principles, I’ve observed a significant impact on the overall development of young children. Montessori’s approach to learning and her influence on brain development have been widely recognized and studied. Through the use of hands-on materials and a child-centered environment, Montessori classrooms promote independent thinking, problem-solving skills, and self-discipline. These factors contribute to the development of executive functions, such as attention control and working memory, which are crucial for cognitive growth. Additionally, the emphasis on practical life skills and sensory exploration in Montessori education supports the development of neural connections in the brain. This holistic approach to education not only fosters academic achievement but also helps children develop essential life skills. Transitioning into the next section, nurturing mathematical thinking in Montessori classrooms builds upon these foundational aspects of development. Nurturing Mathematical Thinking in Montessori Classrooms Developing mathematical thinking in Montessori classrooms involves providing hands-on experiences that allow toddlers to explore concepts such as number sense, patterns, and spatial relationships. As a Montessori educator, I’ve witnessed firsthand how this approach nurtures mathematical thinking and problem-solving skills in young children. Here are four key ways Montessori classrooms foster mathematical development: Manipulative materials: Montessori classrooms are equipped with a wide range of manipulative materials that engage children in concrete, hands-on learning. These materials, such as counting rods and geometric shapes, enable children to visualize and manipulate mathematical concepts. Individualized learning: Montessori classrooms encourage individualized learning, allowing each child to progress at their own pace. This personalized approach ensures that children have the time and support they need to develop their mathematical thinking skills. Child-led exploration: Montessori classrooms prioritize child-led exploration, allowing children to choose activities that interest them. This freedom promotes curiosity and a love for learning, which are essential for developing mathematical thinking. Integration of math in everyday activities: In Montessori classrooms, mathematical concepts are seamlessly integrated into everyday activities. Whether it’s counting objects during snack time or arranging materials in patterns, children are constantly exposed to mathematical thinking in a meaningful and practical way. The Montessori Sensorial Materials and Cognitive Growth The Montessori sensorial materials engage children’s senses and promote cognitive development. These materials are carefully designed to encourage exploration and learning through play. Through sensory exploration, children develop their cognitive skills and gain a deeper understanding of the world around them. The role of play in cognitive growth is crucial, as it allows children to actively engage with their environment and develop their problem-solving abilities. Montessori classrooms provide a rich and stimulating environment that encourages hands-on exploration and experimentation. This hands-on approach allows children to build upon their existing knowledge and develop new cognitive skills. One of the key aspects of Montessori sensorial materials is their focus on sensory exploration. These materials are designed to engage all of the child’s senses, including sight, touch, hearing, taste, and smell. By stimulating multiple senses, children are able to make connections between different sensory experiences and develop a deeper understanding of the world around them. Incorporating sensory exploration into cognitive development has been shown to have numerous benefits. Research has shown that sensory play helps children develop their problem-solving skills, creativity, and critical thinking abilities. It also promotes language development, social skills, and emotional regulation. Here is a table that highlights the benefits of sensory exploration in cognitive development: |Benefits of Sensory Exploration in Cognitive Development| |Enhances problem-solving skills| |Stimulates creativity and imagination| |Develops critical thinking abilities| |Promotes language development| |Cultivates social skills and emotional regulation| Fostering Creativity and Imagination in Montessori Philosophy I believe fostering creativity and imagination is essential in the Montessori approach to education. By providing an environment that encourages curiosity and independent thinking, we can help children develop their cognitive abilities and prepare them for lifelong learning. Here are four reasons why fostering creativity and imagination is crucial in the Montessori philosophy: Enhanced problem-solving skills: When children are encouraged to think creatively, they learn to approach problems from different angles and find innovative solutions. This helps them develop critical thinking and analytical skills that are essential for cognitive growth. Increased motivation to learn: When children are given the freedom to explore their interests and pursue their own ideas, they become more engaged and motivated to learn. This curiosity-driven approach fosters a love of learning and helps children develop a lifelong passion for knowledge. Improved communication skills: When children are encouraged to express their ideas and thoughts creatively, they develop strong communication skills. They learn to articulate their thoughts, listen to others, and engage in meaningful conversations, which are essential for cognitive and social development. Enhanced imagination and innovation: By fostering creativity, we nurture children’s imagination and encourage them to think outside the box. This fosters innovation and prepares them to become future problem solvers and leaders. Fostering creativity and imagination in the Montessori philosophy has a profound impact on children’s social and emotional cognitive skills. It helps them develop self-confidence, empathy, and resilience, which are crucial for building healthy relationships and navigating the complexities of the world. The Impact of Montessori Philosophy on Social and Emotional Cognitive Skills When fostering creativity and imagination in the Montessori philosophy, I’ve seen a profound impact on children’s social and emotional cognitive skills. The Montessori philosophy emphasizes the importance of providing a supportive and stimulating environment where children can freely explore and engage in play-based activities. This approach has been shown to enhance social and emotional development, as well as cognitive growth. Montessori classrooms encourage children to engage in purposeful play, which allows them to develop their problem-solving, decision-making, and critical thinking skills. Through play, children learn to regulate their emotions, express themselves, and interact with others in a positive and respectful manner. They also develop their self-confidence and independence, as they’re given the freedom to make choices and pursue their own interests. Research has shown that children who experience the Montessori philosophy exhibit higher levels of empathy and cooperation, as well as enhanced communication and conflict resolution skills. They also demonstrate greater self-control and emotional regulation, which are essential for successful social interactions. These social and emotional skills lay the foundation for future academic success and overall well-being. Frequently Asked Questions What Is the History of the Montessori Approach and How Does It Relate to Cognitive Development in Toddlers? The history of the Montessori approach is fascinating. It was developed by Maria Montessori in the early 1900s and focuses on allowing children to learn at their own pace through hands-on experiences. The benefits of this approach for cognitive development in toddlers are immense. Montessori education encourages independent thinking, problem-solving, and self-discipline. By providing a prepared environment and age-appropriate materials, toddlers are able to explore and develop their cognitive skills in a natural and meaningful way. What Are Some Specific Examples of Montessori Materials That Support Cognitive Growth in Toddlers? Well, when it comes to Montessori materials and cognitive development in toddlers, there are quite a few examples that come to mind. For starters, you’ve the classic puzzle sets that help with problem-solving skills. Then there are the sensory bins filled with different textures, promoting sensory exploration. And let’s not forget about the language materials like letter cards and word puzzles, which aid in language development. All in all, Montessori materials provide a hands-on approach to learning and really foster cognitive growth in toddlers. How Does Montessori Education Enhance Problem-Solving Skills in Toddlers? Montessori education is known for its ability to enhance problem-solving skills in toddlers. Through hands-on activities and a child-centered approach, Montessori allows children to explore and discover solutions on their own. This fosters critical thinking, creativity, and independence. What Are Practical Life Activities and How Do They Contribute to Cognitive Development in Toddlers? Practical life activities, like little seeds of knowledge, sprout cognitive growth in toddlers. These activities involve everyday tasks, such as pouring water or buttoning clothes, that promote independence and fine motor skills. They may seem simple, but they engage a child’s senses and help develop concentration, coordination, and problem-solving abilities. How Does the Montessori Language Curriculum Support Cognitive Development in Toddlers? The Montessori language curriculum plays a crucial role in supporting cognitive development in toddlers. By introducing language in a structured and hands-on manner, it promotes language acquisition, vocabulary expansion, and cognitive skills such as memory and problem-solving. Through activities like phonetic games, storytelling, and reading, toddlers develop their ability to communicate effectively and understand the world around them. The Montessori approach recognizes the importance of language in cognitive growth and provides a nurturing environment for toddlers to thrive in their language development. In conclusion, the Montessori philosophy has proven to be a powerful catalyst for cognitive growth in toddlers. By providing a stimulating and nurturing environment, incorporating Montessori materials, and focusing on practical life activities, language development, mathematical thinking, sensorial experiences, and creativity, Montessori education fosters the development of cognitive skills in a holistic and effective manner. The impact of this philosophy extends beyond academic growth, also nurturing social and emotional cognitive skills.

<urn:uuid:bf0dac3c-0551-4c92-a2e6-9db4ae0df895>

CC-MAIN-2023-40

https://toddlerrideontoys.net/the-connection-between-montessori-philosophy-and-cognitive-growth-in-toddlers/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510387.77/warc/CC-MAIN-20230928095004-20230928125004-00077.warc.gz

en

Natsume Sōseki (1867–1916) is one of a handful of individuals who both symbolized Japan’s emergence as a modern nation and helped mold an understanding of the modern condition through his life’s work. Literature was Sōseki’s creative vehicle, but his significance in the context of a broader national identity is greater than the sum of his individual works. In short, his stature is akin to that of Mark Twain, a consensus American icon. Born at the end of Japan’s final shogunal epoch, the Tokugawa period (1603–1868), Sōseki died several years following the death of the Meiji Emperor. His life span essentially overlaps the seminal Meiji period in Japan’s history (1868–1912), and his literature has long been regarded as having captured the so called Meiji no seishin—the spirit of the Meiji Era. Sōseki’s official status as a Japanese cultural property was acknowledged in the form of his image, which long adorned the nation’s thousand-yen banknote. Natsume Sōseki’s life and writings were indelibly marked by the intersection of late Tokugawa influences and the ambitious modernization project that marked the Meiji period. The Tokugawa shogunate, based in Edo, had succeeded in maintaining an orderly and regimented society through the imposition of a Confucian-style social hierarchy, with the bushi (samurai) class at the top. Rival samurai clans were effectively marginalized, and the threat of Western colonial incursions was countered through the shogunal sakoku policy of national isolation, which effectively cordoned off the nation from most foreign influences for over two centuries. Tokugawa society was subject to an official moral code that stressed duty and obedience, and its leaders instituted a relatively strict regime of edicts, regulations, and widespread censorship in order to ensure social order. Thanks to the stable society and a productive domestic economy, Tokugawa cities—especially the shogunal capital of Edo and the mercantile center of Osaka—expanded dramatically, and chōnin (an ascendant merchant class) fostered a stunning variety of arts and entertainment. An urban-based secular culture prevailed, and the pleasure quarters, with their geisha houses, stylish restaurants, and kabuki theaters, attracted anyone with money to burn. Sōseki’s Japan bore the marks of the nation’s rapid transition to modernity, a major catalyst for which was the arrival of a fleet of American kurofune (“Black Ships”) in 1853, under the command of Matthew Perry. Fifteen years later, the shogunal order gave way to the Meiji Era and the advent of modern Japan. Sōseki was witness to the daunting challenges involved in this radical transformation, and his literature, in the aggregate, is both a reflection of and commentary on the new social, political, and cultural order. The Meiji mission was to create a modern nation with state-of-the-art education, technology, media, and urban development. Tokyo—the erstwhile Tokugawa shogunal capital—would be a showcase of Japanese modernity and the center of the nation’s cultural and intellectual life. Western know-how would be privileged, together with a new social and political agenda that recognized individualism, autonomy, and equality. Yet these modern developments had to contend with a significant conservative agenda adopted by the powerful Meiji oligarchs— themselves erstwhile samurai. Cognizant of the need to leverage Tokugawa nativist teachings as a hedge against Western hegemony, they restored the emperor as a national sovereign, patriarch, and Shinto divinity. And they promulgated a “uniqueness myth” centered on kokutai, a term meant to invoke a credo of Japanese uniqueness. Harkening back to Japan’s authoritarian past, the nation’s leaders sought to mold a people attuned to their status as loyal subjects of the emperor. In short, Meiji Japan witnessed the confrontation of a resurgent traditionalism, and the new ethic of individualism and freedom inspired by Western models. This seemingly incongruous design in the fabric of Meiji society would inevitably be reflected in the work of its writers and intellectuals—none more so than Natsume Sōseki. Sōseki’s Early Years Natsume Kinnosuke (Sōseki is a pen name) was born in Edo in 1867, one year before the city would be renamed Tokyo with the advent of the Meiji period. The Natsume family had long since lost its samurai status, and Kinnosuke’s father served as a local official of no particular significance. The sixth and last child of older parents who felt the burden of an essentially unwanted child, Kinnosuke was sent out for adoption as an infant to a couple of their acquaintance, the Shiobaras—a not-uncommon practice. The lad would spend some eight years with his adoptive parents, who had serious marital problems of their own, and finally returned to his natal home when he was eight. These early experiences, with their complex emotional freight, would figure in much of his subsequent literature. The young Kinnosuke was a brilliant student with a flair for literature—the legacy of Japanese and Chinese writings initially, then English literature. As a graduate of Tokyo Imperial University, he took on several rural teaching posts in Shikoku and Kyūshū—experiences that would inspire one of his most popular novels. In 1896, at age twenty-nine, he married Nakane Kyōko, who was ten years younger. She would bear him six children, and they remained together despite temperamental differences and a troubled relationship. Marital problems and mutual barriers to communication would emerge as a key theme of Sōseki’s late novels. In 1900, Sōseki was sent to England at government expense to study English literature at its source. He spent two years in London, a bitterly trying time notwithstanding his far-ranging literary studies. Two serious impediments would come into play here: a chronic stomach disorder that went untreated and led to a series of hospitalizations and an early death at age forty-nine, and a neurotic disorder diagnosed as shinkei suijaku— neurasthenia—treated by early Japanese specialists in clinical psychology. The neurasthenia symptoms, including seemingly erratic behavior and unusual mood swings, essentially signaled that Sōseki was at risk of a nervous breakdown. Perhaps a reflection of his melancholic temperament, Sōseki embraced a sardonic, occasionally fatalistic view of modern society and the human condition itself. His keen sensitivity to the problems and pitfalls of social relationships—especially in the context of marriage and family—and the corrosive impact of egocentrism, false pride, and mistrust would deeply color his best-known novels. Sōseki’s Literary Achievements As with many of his literary contemporaries, poetry was an early passion and a lifelong pursuit. Sōseki would achieve mastery in both the haiku genre—recalling great predecessors such as Bashō and Buson—and the Chinese poetic genre known as kanshi. Indeed, his stature as a poet would alone have established him as a major literary figure. But together with his great contemporary Mori Ōgai (1862–1922), Sōseki went on to distinguish himself across the spectrum of literary production. Fiction, though, would be his enduring legacy. Having been appointed to a prestigious professorship in English Literature at the Imperial University in Tokyo, Sōseki found himself more interested in creative writing than what had become an increasingly stultifying academic routine. While still teaching, he achieved critical acclaim for a novel improbably titled I Am a Cat and even more accolades for a second novel, Botchan, whose spirited young protagonist was widely admired. By now committed to a literary career, Sōseki resigned from his university position—all but unthinkable at the time—and embarked on what would be a ten-year career as a professional fiction writer on the staff of the Asahi shimbun, one of the nation’s leading newspapers. He published a series of novels, which initially appeared in daily serialization, over the course of a decade. As such, his work became part of the daily reading diet of millions of Japanese. Once established in the bundan, the Tokyo-based literary community, Sōseki attracted a number of protégés and disciples, and they would meet regularly on Thursdays at the Natsume home near Waseda University—a gathering known as the Mokuyōkai, the “Thursday Group.” It has since become the stuff of literary legend. Sōseki’s extensive personal writings include many anecdotes and episodes set within his circle of literary colleagues and protégés.1 Sōseki’s novels have earned a privileged place in the Japanese literary canon, and they have enjoyed an “afterlife” in various media forms—film, anime, television drama, and so forth. A brief overview of the major works will reveal the trajectory of a literary career that led to the author being regarded as something akin to Japan’s unofficial “novelist-laureate.”2 I Am a Cat (Wagahai wa neko de aru, 1905–1906) Sōseki’s first novel, a masterpiece of satire inspired in part by British literary forerunners, is set in the household of one “Professor Sneeze” and is narrated by the family’s all-knowing and wryly sardonic cat. The nameless feline harbors a distinctly misanthropic attitude as it lampoons the vanity, pomposity, and general cluelessness of its master. Insofar as Sneeze’s peccadilloes clearly match those of the author, the work is a self-parody. But it also gives ample voice to Sōseki’s jaundiced view of modern civilization, as well as lampoons the patriotic fervor that was then sweeping the nation as it waged its war with Russia. The novel was a great success, and the author, now intent on pursuing fiction writing in earnest, immediately turned to his next literary project. Written while the author still occupied his university teaching post, Sōseki’s second novel drew upon his personal experiences as a teacher in provincial Shikoku. Botchan is the first-person account of a young man raised by unloving parents who regarded him as wild and willful; it is only his devoted maid, Kiyo, who sees the good in him. The novel’s title refers to the name, roughly equivalent to “sonny boy,” that Kiyo affectionately called him. The rather naïve young man leaves Tokyo following his parents’ death and takes up a teaching post in the provinces. What ensues is his education in the ways of the world—encounters with crass and duplicitous individuals whose chicanery he cannot endure and whom he resolves to unmask so that justice can be done. Botchan has long held a privileged place among Japanese readers, largely due to its endearing portrayal of the utterly guileless, principled, and intrepid young protagonist who cannot sit idly by without confronting wrongdoers in positions of authority. Still a relatively inexperienced writer, Sōseki would move on to experiment with fictional genres and themes. For instance, his next novel, The Three-Cornered World (Kusamakura, 1907), is a seeming retreat into a world of aesthetic self-indulgence abounding in lyrical flights, meditations on beauty, and haiku-esque sensibility. Yet here the author poses a challenge to the then-dominant naturalist coterie, whose agenda of unadorned confessional angst and self-pity he rejected. At the same time, Sōseki points to the value of a cultural traditionalism threatened by the juggernaut of modern civilization. By this point, Sōseki had finally resigned his professorial post and entered the employ of the Asahi shimbun as a professional novelist. His work, which would henceforth appear in daily serialization, essentially established a literary standard for the nation. A Trilogy of Novels Following this early phase of his career, Sōseki can be said to have matured as a writer with the appearance of a trilogy written between 1908 and 1911. The first of these, Sanshirō (1908), concerns an eager but naïve young man from the provinces, Ogawa Sanshirō, and his experiences as a student at Tokyo University. Reminiscent of Botchan’s awakening to the harsh realities of life, Sanshirō, who is initially overwhelmed by the clash and clatter of the big city, gradually learns from his mentors at the university. They in turn serve as a comic send-up of academic pretense and puffery—a target of Sōseki’s first novel. Sadly, Sanshirō’s infatuation with Mineko, the very model of modern, independent Japanese womanhood, will bear no fruit. Notwithstanding his elite university training, the young man has yet to “graduate” into the sort of adult who can function in a competitive and unforgiving world. However, it is precisely his innocent and guileless nature that has helped make Sanshirō, together with Botchan, such perennial favorites among Japanese readers. Essentially a sequel to Sanshirō, And Then (Sore kara, 1909) centers on a savvy, somewhat world-weary protagonist, Daisuke, who is in effect a version of Sanshirō as a jaded adult. Daisuke is well-off, smug, and entirely self-absorbed. The novel, eschewing an objective view of Daisuke’s circumstance, instead presents a sustained view of his inner world, and in so doing achieves a remarkable degree of psychological plausibility. Like Sanshirō, Daisuke is romantically attracted to someone unattainable—Michiyo, the wife of his best friend. The novel traces his inner rationalizations and compulsions, and ends with the clever but ineffectual protagonist locked in his private world and on the verge of madness—a victim of the alienating forces of modern society and lacking the means of engaging others or escaping his nightmarish reality. Sōseki would achieve mastery in both the haiku genre—recalling great predecessors such as Bashō and Buson— and the Chinese poetic genre known as kanshi. The final novel of Sōseki’s trilogy, The Gate (Mon, 1911), tells of another troubled Tokyoite. Unlike Daisuke, though, Sōsuke has a dead-end job and an unhappy marriage to a woman—Oyone—whom he stole away from a friend. Beset by financial problems and at his wits’ end, Sōsuke looks to religion as a means of escape. Intent upon achieving peace of mind through meditation, he goes to a monastery in Kamakura and immerses himself in Zen practice. But Sōsuke is sadly misguided and finds himself back where he started. His personal dilemma, emblematic of the human condition as understood by the author, is movingly captured in the following passage: [Sōsuke] looked at the great gate which would never open for him. He was never meant to pass through it. Nor was he meant to be content until he was allowed to do so. He was, then, one of those unfortunate beings who must stand by the gate, unable to move, and patiently wait for the day to end.3 Some years earlier, Sōseki had himself struggled with Zen meditation before abandoning it in frustration—an experience that left him with a deep cynicism regarding religiosity and ritual practice. His literary alter egos would have no recourse other than to endure their lot or opt for the only escape within their power—suicide. The two novels that mark the culmination of Sōseki’s singular career—Kokoro and Grass on the Wayside— explore the world of characters faced with challenges that eventuate in first one, then the other option. Kokoro in particular has been acclaimed as the great Japanese novel. The title, left in the original in the novel’s fine English translation, is the Japanese term for heart, spirit, our innermost feelings—in other words, that which makes us most identifiably human. In the hands of Sōseki, kokoro is also a challenge, a riddle. Reflecting back upon the recently ended Meiji period and the problematic modernity that it produced, the author captures the complex interplay of self-obsession and our need for others through his two protagonists. One, a university student and the novel’s main narrator, befriends a somewhat-older person he meets by chance. Referred to only as Sensei—an honorific term connoting both age and wisdom—the older friend proves strangely and enticingly aloof, refusing to answer his many probing questions. Guarding his privacy, Sensei admonishes the friend in a passage laden with ominous overtones: Don’t put too much trust in me. You will learn to regret it if you do . . . I bear with my loneliness now, in order to avoid greater loneliness in the years ahead. You see, loneliness is the price we have to pay for being born in this modern age, so full of freedom, independence, and our own egotistical selves.4 This cautionary pronouncement only serves to reinforce the bond with the enigmatic Sensei, who has come to assume the status of surrogate father. At long last, Sensei does indeed relate his life story. But it is presented in the form of an extended suicide note, delivered to the friend at the moment when his own father was facing imminent death. He abandons the dying father and his family in the provinces and rushes back to Tokyo. On board the train, he (and the novel’s readers) can finally learn of Sensei’s past. The document, which comprises half the novel, amounts to a confessional autobiography that tells a tragic tale of self-deception, emotional paralysis, betrayal, and unremitting guilt. Haunted by the consequences of the betrayal, which cost his close friend K his life, and unable to confide in his wife, who had unwittingly played a role in K’s death, Sensei has for years been locked in a prison of his own making. The younger friend thus serves as the catalyst for him to emerge from his cell and tell his story, whereupon he is able to take his own life by way of atonement. The novel ends at the point where the letter ends. As for the fate of the young friend and Sensei’s widow—the novel’s two survivors—Sōseki allows us to draw our own conclusions. The resonance of Sensei’s suicide with that of General Nogi, the heroic military figure who committed ritual suicide on the day of Emperor Meiji’s state funeral in September 1912, underscores the sense in which this extraordinarily moving novel has been said to capture something at the heart—the kokoro—of Meiji Japan, and by extension, the modern condition itself. Grass on the Wayside (Michikusa, 1915) Sōseki’s last complete novel, Grass on the Wayside, is also the most clearly autobiographical.5 Modeled upon the Natsume household following the author’s return from London, it presents a family drama that revisits the “signature” themes of self-absorption, complacency, and failed communication. The married couple—Kenzō and Osumi—inhabit a contested domestic terrain that pits them against one another, with the inevitable harvest of wounded pride and mutual exasperation. Theirs is an emotional tug-of-war that captures the uneasy “terms of engagement” emblematic of a modern marriage. The novel is channeled principally through the husband, Kenzō—a conceited, cranky intellectual who is prone to melancholy reflections on his past. He is beset by haunting memories of childhood in an adoptive family and has recently been badgered by the adoptive father for a cash settlement in exchange for an annulment of the adoption. Worse yet, he is saddled with a wife who simply cannot understand him. Kenzō does harbor a certain affection for his wife but remains entirely incapable of expressing it. For her part, Osumi is driven to distraction by her blowhard of a husband, wishing that he would let down his guard for once and treat her with some kindness. Grass on the Wayside concludes with one final sparring match, which concerns the agreed-upon payoff intended to settle things with the adoptive father. “What a relief,” [Osumi] said. “At least the affair is finally settled . . . ” “But it isn’t, you know.” “What do you mean?” . . . “Hardly anything in life is settled. Things that happen once will go on happening . . . ” He spoke bitterly, almost with venom. His wife gave no answer. She picked up the baby and kissed its red cheeks. “Nice baby, nice baby. We don’t know what daddy is talking about, do we?” The Sōseki Legacy Natsume Sōseki’s fiction can be said to mark the coming-of-age of modern Japanese literature, from its origins in the early 1880s. The author achieved a mastery of the modern psychological novel, through which he succeeded in capturing the ebb and flow of moods, conflicted emotions, and confusion that marked his own life and that of his literary alter egos. With remarkable sensitivity and subtlety, Sōseki’s literature explores the travails of individualism in the modern age. Insulated from others by circumstance and personal inclination, his characters ponder the meaning of their lives, wondering who they are and how they got to be that way. They mull over the past and sift through the traces and fragments of memory for something that might yield an answer. And they struggle—often in vain—to make sense of relationships freighted with pain, regret, and a numbing banality. But there is more to the story—namely, a Sōseki legend that has survived his passing, one that plays upon an essential wisdom attributed to the man and his work. At its core is an epigram with which the author is closely associated—sokuten kyoshi, “Be in accord with heaven and reject the self.” Like many such legends, the exact source is unclear, as is the sense in which Sōseki may have meant for it to be understood. Yet generations of disciples and admirers have maintained that the man embodied a higher wisdom. It is either ironic or entirely fitting that an individual so sensitive to the corrosive forces at work in modern society, and so skeptical about the future, should emerge as a sage. I would like to think that Sōseki’s bemused expression on the iconic photograph represents his response to this curious state of affairs. NATSUME SŌSEKI’S MAJOR NOVELS I Am a Cat. Translated by Aiko Itō and Graeme Wilson. Rutland, Vermont; Tokyo, Japan: Charles E. Tuttle Company., 1986. Botchan. Translated by Joel Cohn. Tokyo: Kodansha International, 2007. The Three-Cornered World. Translated by Alan Turney. London: Peter Owen, 1965. Sanshirō. Translated by Jay Rubin. Seattle: University of Washington Press, 1977. And Then. Translated by Norma Moore Field. Baton Rouge: Lousiana State University Press, 1978. The Gate. Translated by Francis Mathy. London: Peter Owen, 1972. Kokoro. Translated by Edwin McClellan. Chicago: Henry Regnery, 1957. Grass on the Wayside. Translated by Edwin McClellan. Chicago: University of Chicago Press, 1969. 1. For a study of this body of writing, see my Reflections in a Glass Door: Memory and Melancholy in the Personal Writings of Natsume Sōseki (Honolulu: University of Hawai’i Press, 2010). 2. See the appended listing of the novels and their respective English translations. 3. Cited in Jay Rubin, “Sōseki,” Modern Japanese Writers, ed. Jay Rubin (New York: Charles Scribner’s Sons, 2001), 372. The passage was translated by Edwin McClellan. Rubin’s essay (349–384) provides a detailed and astute commentary on the author’s work. Here I would like to acknowledge Jay Rubin’s important contributions as a Sōseki scholar and translator. 4. Edwin McClellan, trans., Kokoro (Chicago: Henry Regnery, 1957), 30. 5. A final novel, Light and Darkness (Meian), was left incomplete at the time of Sōseki’s death on December 9, 1916. 6. Based upon Edwin McClellan, trans., Grass on the Wayside (Chicago: University of Chicago Press, 1969), 168–169.

<urn:uuid:187ebda1-ca15-481a-a523-a217663fe8b1>

CC-MAIN-2023-40

https://www.asianstudies.org/publications/eaa/archives/natsume-soseki-and-modern-japanese-literature/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506429.78/warc/CC-MAIN-20230922234442-20230923024442-00178.warc.gz

en

Pedal point and pedal tones are essential elements in music composition. They add a unique touch to the overall sound and can create tension or stability. Understanding these concepts is crucial for musicians who want to delve deeper into music theory and composition. - 1. A pedal point refers to a sustained note that remains unchanged while other harmonies and melodies change around it. It acts as an anchor, providing a stable foundation for the music. - 2. Pedal tones are similar to pedal points but have more flexibility. They can be repeated at different octaves or even transposed to different pitches while maintaining their characteristic stability. - Lastly, both pedal points and pedal tones can be used in various musical genres such as classical, jazz, and rock. They can enhance the emotional impact of a piece by creating tension or adding depth. To make the most out of pedal points and pedal tones, musicians should explore their potential in terms of harmonic progressions, voice leading, and counterpoint techniques. These elements contribute to the complexity and richness of compositions. Why settle for a stationary bike when you can have a pedal point to rock out on? What is Pedal Point? To gain a solid understanding of pedal point and pedal tones, dive into the section on “What is Pedal Point?” This section will provide the definition and explanation of pedal point, along with delving into its historical background. Definition and Explanation Pedal point, also known as pedal tone, is a musical technique where a sustained or repeated note serves as the foundation for a composition or section. This technique is commonly found in classical and baroque music, and adds depth and stability to the overall sound. The pedal point is usually played by a single instrument, such as an organ or a bass guitar, and acts as a focal point around which the other melodies and harmonies revolve. It creates tension and release by contrasting with the changing chords and melodies above it. One interesting aspect of pedal point is its ability to create harmonic ambiguity. The sustained note often clashes with the changing harmonies, creating dissonance that can be resolved in various ways. This adds complexity and intrigue to the composition, making it more captivating for the listener. Before pedals were invented, musicians were just going in circles trying to find that low-end grounding for their music. Historical Background of Pedal Point The historical background of Pedal Point dates back to the 16th century, where it originated in polyphonic music. This technique involves sustaining a single tone while harmonies change around it. By acting as a stable foundation, the pedal point adds depth and tension to the composition. During the Baroque period, composers such as Johann Sebastian Bach began incorporating pedal points into their works, particularly in pieces for organ or harpsichord. These sustained tones created a sense of gravity and stability amidst intricate counterpoint melodies. In addition to its prevalent use in classical music, pedal point has also found its way into other genres. It has been employed in various forms by jazz musicians, rock guitarists, and even electronic music producers. The versatility of this technique is evident in its ability to adapt across different musical styles. Today, pedal point continues to be an essential tool for composers and performers alike. Its ability to create tension and momentarily suspend resolution adds an exciting dynamic to music. Whether it is used subtly or prominently, the historical significance of pedal point remains influential in shaping musical compositions throughout the centuries. What are Pedal Tones? Well, if music had a superhero, pedal tones would be its cape, flowing beautifully behind, providing that steady foundation for the harmonious chaos. What are Pedal Tones? To understand what pedal tones are and how they are used in music, learn about their definition and explanation. Explore the fascinating world of pedal tones, their significance, and the impact they have on different musical compositions. Discover the various ways pedal tones can be utilized in creating captivating and harmonious musical arrangements. Definition and Explanation Pedal tones are a captivating musical phenomenon that adds depth and richness to compositions. These sustained tones act as a structural foundation, providing a steady anchor amidst the harmonic progression. Emitting an unmistakable resonance, pedal tones create tension and release, adding drama and intrigue to the music. They serve to enhance emotional expressions, building anticipation before resolving into a satisfying resolution. Pedal tones can be found in various genres of music, from classical to jazz and even rock and pop. Their versatility and ability to evoke strong emotions make them a valuable tool for composers and performers alike. While most commonly associated with the bass instruments, such as the organ or double bass, pedal tones can also be produced by other instruments like guitars or even voices. The constant repetition of a single pitch beneath changing harmonies creates an interesting contrast, highlighting different tonal qualities within the composition. This technique can be used in both solo pieces and ensemble works, blending seamlessly with other melodic lines to create a harmonious blend of contrasting textures. Embedding pedal tones into musical compositions requires careful calculation and artistic intuition. Composers strategically choose when to introduce these sustained notes for maximum impact, often employing them during climactic moments or pivotal transitions within the piece. The careful integration of pedal tones adds an extra layer of complexity and nuance to the music, captivating listeners with its powerful resonance. Using pedal tones in music is like having a loyal sidekick who adds a bassy punch to your tunes – they may not have much to say, but they sure know how to make an impact! How Pedal Tones are Used in Music Pedal tones are a significant element in music composition, bringing depth and stability to a piece. They are single notes that sustain throughout a musical passage or section, often played by the bass instruments. By repeating these deep tones, composers create a strong foundation for the rest of the musical composition. The use of pedal tones in music is crucial for establishing tonal centers or creating tension and release. When used as a tonic pedal, it provides a sense of stability and resolution to the listener. It acts as an anchor, guiding the harmony and allowing other melodies and harmonies to interact and develop around it. Pedal tones can also be used strategically to create tension in music. By introducing dissonance through conflicting harmonies against the drone-like pedal note, composers generate anticipation and suspense before ultimately resolving back to consonance. Moreover, pedal tones can enhance specific emotions within a piece. For instance, using repetitive low-pitched pedal notes can evoke feelings of solemnity or foreboding. On the other hand, employing higher-pitched pedal tones may create a sense of anticipation or excitement. In addition to their harmonic functions, pedal tones can also serve rhythmic purposes. By exploiting their sustained nature, composers can establish rhythmic patterns or reinforce the underlying beat of a composition. Overall, understanding how pedal tones are used in music is essential for composers and musicians alike. Whether providing stability or generating tension, these sustained notes play an integral role in shaping the overall sound and emotional impact of a musical piece. Strap on your musical seatbelt because we’re about to dive deep into the world of creating pedal points and pedal tones—prepare to have your musical foundation rattled! How to Create Pedal Point & Pedal Tones To create pedal point and pedal tones, solution lies in choosing the right note or chord, incorporating them into chord progressions, and using techniques for smooth transitions. By understanding these sub-sections, you’ll be equipped to master the art of pedal point and pedal tones effortlessly. Choosing the Right Note or Chord for Pedal Point Choosing the right note or chord for a pedal point is crucial in creating an effective and captivating musical composition. The pedal point acts as a foundation, adding depth and stability to the overall sound. Here is a simple 3-step guide to help you choose the perfect note or chord for your pedal point: - Identify the Key: Determine the key of your composition. This will serve as a reference point for selecting the appropriate note or chord for your pedal point. Remember, the pedal point should harmonize with the other elements in your composition. - Consider Tonality: Analyze the tonality of your piece. Is it major or minor? This will influence the choice of notes or chords that can be used for your pedal point. For example, if you’re in a major key, you may opt for a major chord as your pedal point, while in a minor key, a minor chord might work best. - Experiment with Different Pitches: Explore different pitches within the chosen key and tonality to find what works best for your composition. You can try different inversions of chords or experiment with chromatic alterations to add color and interest to your pedal point. Remember, choosing the right note or chord for a pedal point is subjective and depends on factors such as personal preference and musical context. Don’t be afraid to trust your ear and explore innovative combinations that enhance your musical storytelling. In summary, when selecting a note or chord for a pedal point, consider the key and tonality of your composition while experimenting with different pitches within those parameters. Let your creativity guide you towards finding the perfect foundation that elevates your musical creation to new heights! Incorporating pedal tones into chord progressions is like having a sturdy anchor in a sea of musical possibilities. Incorporating Pedal Tones into Chord Progressions Pedal tones, a technique widely used in music, can enhance chord progressions and add depth to compositions. Here are five ways to incorporate pedal tones into chord progressions: - Sustained Tones: Add sustained pedal tones to create a consistent foundation for the chords. This technique provides stability and allows for exploration of different chord voicings without losing the underlying harmonic structure. - Contrasting Tones: Introduce contrasting pedal tones that diverge from the main melody or chords. This creates tension and adds complexity to the progression, capturing the listener’s attention and creating a dynamic musical experience. - Harmonic Overtones: Layer harmony with pedal tones by including additional notes that harmonize with the chosen pedals. The overlapping of these notes creates rich and resonant sounds, elevating the overall musical texture. - Counterpoint Movements: Incorporate counterpoint movements between the pedal tone and other melodic lines or chords. This interaction generates melodic interest and can lead to unexpected harmonic resolutions, introducing delightful surprises for the audience. - Rhythmic Variations: Experiment with rhythmic variations on the pedal tone to inject freshness into the chord progression. Altering note durations or adding syncopation can transform a simple progression into an engaging musical journey. Additionally, remember to consider these unique aspects: - Pedal tones require careful attention to ensure they complement rather than overpower other elements in your composition. - Duration plays a vital role; longer pedal tones tend to evoke a sense of stillness while shorter ones drive momentum. - The choice of instrument impacts how pedal tones are perceived; experiment across various instruments for desired effects. With these methods, musicians can harness the power of pedal tones within their chord progressions, creating captivating melodies that mesmerize listeners and leave an everlasting impression. Transitioning between chords with pedal tones is like seamlessly changing gears on a bike, except with more musicality and less chance of crashing. Techniques for Smooth Transitions with Pedal Tones Smooth transitions with pedal tones require careful execution and a keen understanding of musical dynamics. By applying certain techniques, musicians can create seamless shifts in tonality that captivate their audience. One method is to use pedal points, which are sustained notes that form the foundation of a musical passage. These notes can be held throughout different chords or harmonies, providing a sense of stability and continuity. The key to achieving a smooth transition lies in the careful selection of pedal tones that harmonize well with the changing chords. Another technique involves utilizing pedal tones as a means of transitioning from one section to another. By introducing a sustained note that connects two different musical phrases, musicians can seamlessly move between contrasting melodies or harmonic progressions. This technique adds depth and cohesion to the composition while maintaining the listener’s interest. Furthermore, incorporating subtle variations in rhythm and texture can enhance the overall effect of pedal tones. By manipulating these elements, musicians can inject moments of tension and release, creating dynamic shifts within the music. These variations not only keep the listener engaged but also contribute to the smoothness of transitions between sections. In addition to these techniques, modulation can be employed to achieve seamless transitions with pedal tones. Modulation refers to transitioning from one key to another within a piece, creating an unexpected yet harmonically satisfying change. By incorporating pedal tones during modulations, musicians can ensure a smooth shift from one tonal center to another. Overall, the use of pedal points and pedal tones offers musicians a powerful tool for creating smooth transitions within their compositions. Through careful selection and manipulation, these techniques allow for seamless shifts in tonality that engage listeners and add depth to musical arrangements. By mastering these techniques, musicians can take their compositions to new heights and captivate audiences with their artistry and creativity. Get ready to dive into the musical genius of famous songs using Pedal Point & Pedal Tones – it’s like finding the perfect balance between a catchy melody and a stubborn ex, they just can’t resist each other! Examples and Analysis of famous songs using Pedal Point & Pedal Tones Famous songs have elegantly incorporated pedal point and pedal tones to create captivating musical moments. Let’s explore some notable examples and delve into their analysis. - “Baba O’Riley” by The Who: This iconic song opens with a pulsating synthesizer arpeggio, utilizing the E note as a pedal tone. The repetitive nature of this tone adds an infectious drive to the composition. - “Hey Jude” by The Beatles: In this timeless classic, McCartney skillfully employs a pedal point on the F# note throughout most of the song. This sustained bass note creates tension and adds emotional depth to the overall arrangement. - “Ode to Joy” by Ludwig van Beethoven: As one of the most recognizable melodies in classical music, this symphony employs a prominent pedal point in D major. This sustained D note provides a solid foundation for the soaring harmonies to effortlessly captivate listeners. - “Sweet Child o’ Mine” by Guns N’ Roses: Slash’s iconic guitar riff is comprised of several pedal points, including sustaining the open G string while moving through different chords. This technique contributes to the song’s intense energy and memorable hooks. - “The Chain” by Fleetwood Mac: In this beloved rock anthem, John McVie showcases his mastery of pedal point technique on the bass guitar throughout the verses. The consistent pulse on the G note intertwines seamlessly with Lindsey Buckingham’s driving guitar riffs, creating a formidable sonic foundation. - “Riders on the Storm” by The Doors: Ray Manzarek’s haunting keyboard progression in this atmospheric masterpiece features a recurring bassline that serves as both a pedal tone and Point motif, maintaining a sense of foreboding and melancholy allure. These examples demonstrate how pedal point and tones can be utilized across various genres to enhance the musical experience, whether it’s through building tension, providing a solid foundation, or adding emotional depth. Their incorporation by these legendary artists showcases their understanding of composition and their ability to create memorable and impactful songs. Get ready to give your music an anchor, because these pedal point and pedal tones tips will keep your compositions from floating away. Tips for Beginners in Using Pedal Point & Pedal Tones Pedal point and pedal tones are important concepts in music theory, especially for beginners. Here are some helpful tips to get you started: - Explore different pedal points: Experiment with different notes or chords that can serve as pedal points in your music. This will create a solid foundation for your compositions. - Emphasize harmonic stability: Pedal points can add a sense of stability and grounding to your music. Use them strategically to create tension and release within your compositions. - Experiment with different musical genres: Pedal points are found in various musical genres, such as classical, jazz, and even rock. Listen to different pieces from these genres to gain inspiration and understanding of how pedal tones can be used effectively. - Create dynamic textures: Pedal points can help create interesting textures in your music. Experiment with layering different melodies and harmonies on top of the sustained pedal tone to add depth and complexity. To further enhance your understanding of pedal point and pedal tones, here are a few additional details: - Pedal points can be sustained throughout an entire piece or used selectively in certain sections. - They can be played on various instruments, not just the traditional piano or organ. - Pedal tones are often used in basslines to provide a consistent foundation for the chord progression above. - When using pedal points, pay attention to the relationships between the notes being played above it to create harmonic interest. By following these tips and exploring the possibilities of pedal point and pedal tones, you can add depth, texture, and emotion to your compositions. So go ahead, experiment with this powerful technique and unlock new dimensions in your music! Wrap it up like a pedal point, this beginner’s guide concludes with a perfect melodic resolution. Here, we have explored the concept of pedal point and pedal tones, delving deep into their significance in music composition. We have discussed how they create tension and release, adding depth and complexity to musical arrangements. Moreover, we have highlighted various techniques for effectively employing pedal points in different musical genres. Throughout the article, we have provided examples and explanations to help beginners grasp the concept of pedal points and understand their potential applications. From classical music to rock and jazz, pedal tones bring a unique flavor to compositions, enhancing harmonic progression and creating a mesmerizing sonic experience. Furthermore, we have emphasized the importance of proper modulation when using pedal points. By skillfully transitioning between different keys or modes, musicians can maximize the impact of these sustained bass notes. This adds a layer of sophistication to the overall musical structure, captivating listeners with its seamless transitions. Moreover, we have touched upon the role of dynamics in relation to pedal points. Adjusting volume levels can greatly influence the emotional impact of these sustained tones. From soft and subtle undertones to powerful and commanding statements, mastering dynamics allows musicians to fully harness the expressive potential of pedal points. Additionally, we have stressed the need for experimentation when incorporating pedal points into musical compositions. While certain guidelines exist, there are no strict rules when it comes to creativity. By exploring various combinations and arrangements, musicians can discover new possibilities and carve their unique artistic path. To conclude our journey through this exploration of pedal point and pedal tones: these musical elements hold immense power when utilized effectively. Whether used as an underlying foundation or as standalone moments of resonance, they contribute a distinct character that can elevate any composition. So embrace these sonic treasures and let them guide your musical endeavors towards new heights. Remember: creativity knows no bounds when it comes to unleashing the enchanting allure of pedal points! Frequently Asked Questions 1. What is a pedal point in music? A pedal point, also known as a pedal tone, is a sustained or repeated single note, usually played by a bass instrument, while the harmonies above it change. It creates a sense of stability and can be used to enhance tension and release in music. 2. How is a pedal tone different from a drone? While both pedal tones and drones involve sustaining a single note, the main difference lies in their purpose and usage. A drone is a continuous harmonic or melodic accompaniment that stays fixed throughout the piece, whereas a pedal point is used to create tension and resolution within changing harmonies. 3. Can a pedal point be played by any instrument? While pedal points are commonly played by bass instruments like the double bass or bass guitar due to their lower range, they can be played by any instrument capable of sustaining a single note for an extended period. The choice of instrument depends on the desired tone and musical context. 4. How can pedal points be used in composition? Pedal points can be used in various ways in composition. They can provide stability and grounding to a piece, create tension by contrasting with changing harmonies, or enhance the sense of resolution when the harmonies realign. Experimentation with pedal points can lead to unique and captivating musical compositions. 5. Are pedal points only used in classical music? No, pedal points are not exclusive to classical music. While they are commonly found in classical compositions, they are also used in various genres like jazz, rock, and electronic music. Pedal points can add an interesting sonic element and contribute to the overall musical expression, regardless of the genre. 6. Can beginners incorporate pedal points in their compositions? Absolutely! Pedal points can be a fascinating addition to compositions for beginners. They offer a useful tool for creating contrast, tension, and resolution in music. Exploring and experimenting with pedal points can provide a great learning experience and open new creative possibilities.

<urn:uuid:d657b899-ee60-4908-9c12-a0046ef8a7e4>

CC-MAIN-2023-40

https://desertheatmusic.com/beginners-guide-to-pedal-point-pedal/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510983.45/warc/CC-MAIN-20231002064957-20231002094957-00878.warc.gz

en

Nature-based pre-schools and kindergartens, also called forest schools, are schools that use the outdoors as their primary classroom. Instead of sitting at desks, children might find themselves exploring a wooded area, identifying plants, or following the tracks of a small creature. It's a far cry from the traditional preschool setting, where indoor activities and play often reign supreme. The rising popularity of these outdoor-centric schools stems in part from an increasing awareness of 'nature deficit disorder', a term highlighting the lack of nature interaction in today's young generation, which can lead to a variety of health and cognitive issues. The U.S. saw the introduction of these forest schools at the start of the 21st century. Their numbers have been steadily growing, with many parents and educators seeing the value of such an immersive nature experience. As of 2021, their presence has significantly expanded across the nation. As of 2020, there were 585 forest pre-schools or kindergartens in the U.S., according to the Natural Start Alliance's Report "Nature-Based Pre-Schools in the U.S. - 2020 Snapshot". States with the most forest schools were California (50), Washington (50), and Minnesota (40). The benefits are clear: nature-based pre-schools offer kids hands-on learning experiences, promote physical health, nurture mental well-being, and foster a lifelong bond with the environment. This article delves deeper into the world of nature-based education, showcasing how it's shaping a new generation of environmentally-conscious individuals. Nature-Deficit Disorder: Symptoms of a Disconnect to Nature In our modern, rapidly evolving digital landscape, an unexpected phenomenon has emerged—where our increased connectivity to screens and devices has led to a pronounced disconnect from the natural world. This phenomenon is aptly coined as "Nature-Deficit Disorder" (NDD). The term "Nature-Deficit Disorder" was popularized by American author Richard Louv in his 2005 book "Last Child in the Woods." It's important to note that NDD is not recognized as a medical disorder. Instead, it's a descriptive term for the range of behavioral problems arising from people, especially children, spending less time outdoors. While NDD can affect people of all ages, children are especially susceptible. Urbanized environments, heightened screen time, and structured indoor activities have resulted in children having fewer opportunities for unstructured outdoor play. The implications are deep, affecting their health, well-being, and understanding of the world around them. Several symptoms and manifestations have been associated with a lack of nature exposure: - Decreased Physical Activity: Leading to obesity and associated health issues. - Diminished Sensory Development: Particularly those tied to outdoor exploration, like touch and spatial awareness. - Reduced Attention Span: Nature settings are shown to improve concentration and reduce symptoms of ADHD. - Decreased Understanding of Ecosystems: A lack of understanding and respect for nature, leading to environmentally unconscious decisions. - Increased Emotional Stress: Nature has therapeutic effects. A deficit can lead to feelings of anxiety, depression, and other mental health concerns. And of course, the environment itself has suffered greatly from people feeling disconnected from nature and not valuing the importance of the ecosystems of which we are a part. We see this in the many environmental crises facing us today including climate change, pollution, habitat destruction, and species extinction, to name a few. Nature-Based Schools Can Help Address Nature-Deficit Disorder Nature-Deficit Disorder highlights a significant concern in our modern era. Schools, being at the forefront of child development, hold the key to bridging the widening chasm between children and the environment. While forest schools specifically focus on connecting kids and nature, here are some of the ways that even conventional schools can add nature into their curriculum: - Integrated Outdoor Learning: Schools can incorporate subjects like biology, geology, and even history with outdoor lessons, turning local parks or school gardens into interactive classrooms. - Regular Outdoor Breaks: Encourage students to spend recess or other breaks outside, promoting both physical activity and a connection with nature. - Establish School Gardens: Gardens are multifunctional, serving as a source of food, a learning environment, and a therapeutic space. - Field Trips: Regular excursions to natural reserves, farms, or forests can instill appreciation and understanding of diverse ecosystems. - Nature-Based Extracurricular Activities: Clubs or groups that focus on hiking, bird watching, or even outdoor sports can bridge the nature gap. - Awareness Campaigns: Educate students and parents about the benefits of nature exposure and the risks of NDD. A community-aware approach can lead to collective action. Nature-based pre-schools offer holistic developmental benefits and directly combat NDD by bringing kids and nature together. Forest schools are more than just an alternative educational model—they're a transformative approach that aims to forge a deep bond between children and the environment. By immersing young learners in the rhythms and wonders of nature, these schools not only provide holistic educational experiences but also cultivate environmentally conscious individuals ready to address global challenges. So What are Nature-Based Preschools Exactly? A nature-based pre-school or kindergarten is a unique educational setting where the vast majority of learning and play takes place outdoors, often within natural environments like forests, meadows, or beaches. Instead of being confined to four walls, children are immersed in the rhythms of nature, learning through direct interaction with the elements, wildlife, and seasonal changes. Contrasting with traditional schools, which primarily rely on indoor spaces and structured play, nature-based pre-schools emphasize exploration, hands-on experiences, and the inherent lessons that the natural world offers. The curriculum, while still focusing on foundational skills, is deeply enriched by the dynamic, ever-changing outdoor environment. In essence, while regular pre-schools often bring nature in through potted plants or occasional outdoor time, nature-based pre-schools take the whole learning experience outside, fostering a direct and consistent connection between children and the natural world. The Origin of Forest Schools in Europe The forest school movement, while formalized in the mid-20th century, draws upon a European heritage that has, for millennia, recognized the sanctity and significance of nature. Denmark is considered to be the birthplace of the forest school concept, Denmark’s early childhood education underwent a paradigm shift in the 1950s. Fueled by the belief that children could benefit immensely from outdoor environments, the “skovbørnehaver” (forest kindergartens) were established. These settings, often devoid of traditional playgrounds or toys, offered children forests, meadows, and streams as their playground. Nature’s elements and cycles became the guiding curriculum, fostering creativity, resilience, and a deep-rooted respect for the environment. By the 1990s, the forest school philosophy reached the Great Britain, where educators, captivated by its principles, adapted it to the varied landscapes and climates of the United Kingdom. By introducing environmental values into the educational framework, forest schools aim to build not just knowledgeable minds, but compassionate hearts, reverent souls, and hands that work harmoniously with the earth. The Growth of Nature-Based Pre-Schools in the U.S.: The dawn of the 21st century saw the U.S. education system grappling with many challenges, from concerns over standardized testing to rising mental health issues among the youth. As educators and parents sought holistic, child-centered alternatives, the Scandinavian and British success with forest schools provided an enticing solution. Workshops, training sessions, and pilot programs began sprouting, initially as isolated endeavors but gradually coalescing into a more cohesive movement. While the idea of outdoor education was enticing, it wasn't without challenges in the U.S. Factors such as varying state regulations, concerns over safety in wilder terrains, and initial skepticism from parents meant that forest school proponents had to be adaptive. As a result, many forest schools often combined the outdoor model with more conventional classroom settings, ensuring a balance and addressing parental concerns. Diversity of U.S. Nature-Based Schools One of the most striking attributes of the U.S. is its vast and varied natural expanse. From the misty Appalachian forests in the East to the giant redwoods of California, the arid deserts of the Southwest to the great lakes in the North, the landscapes are as diverse as the people themselves. This incredible geographical diversity lent itself to a myriad of interpretations of the forest school concept. - Beach Schools on the Coasts: Coastal regions, particularly in states like California, Florida, and Maine, saw the evolution of beach schools where tidal zones, marine life, and coastal ecology became focal points of learning. - Mountain Schools in the Rockies: In the Rocky Mountain states, the majestic peaks and alpine forests offered lessons on mountain ecosystems, altitude-based plant life, and the unique fauna of these regions. - Desert Schools in the Southwest: In states like Arizona and New Mexico, forest schools adapted to the desert landscapes. Children learned about cacti, desert flora, and the intricate balance of arid ecosystems. - Indigenous Influence and Integration: The U.S., with its rich Indigenous cultures, found another layer to add to its forest schools. Collaborations with Indigenous communities brought forth lessons on native plant usage, traditional ecological knowledge, and a deep spiritual bond with the land. Respecting and integrating this ancient wisdom enriched the curriculum and fostered a deeper, more holistic understanding of the environment. A Day in the Life at a Forest School Imagine a classroom without walls, where the canopy of trees offers shade and the chorus of birds provides the background music. Welcome to a typical day at a forest school. Here, children are not confined to desks but are free to explore, touch, smell, and immerse themselves in the sensory delights that nature offers. A day at a forest school isn't just about learning facts or skills; it's about holistic development. For example, imagine a boy overcoming a fear of insects by observing a caterpillar, or a girl leading a team to build a shelter and discovering her leadership skills. Through every chirp, rustle, and breeze, children at forest schools are not just learning about nature; they're learning about themselves and their place in this vast, interconnected web of life. Here's how one day at a forest school might look: The day begins with a morning circle, where children and teachers gather, often under a favorite tree or by a bubbling brook. This is a time for greetings, songs, and setting intentions for the day. One day, they might listen to a Native American story about the Redwoods, and on another, they may share personal anecdotes about their favorite animals. Nature Walk and Exploration: Guided by their educators, children embark on a nature walk. If in California, they might explore the coastal tide pools, finding starfish and anemones, or venture into the oak woodlands identifying acorns and observing squirrels. Each day offers a new theme or focus. For instance, after a rainy night, they might study the different types of mushrooms that have sprouted or follow the trails of nocturnal creatures. Post exploration, children engage in skill-building activities. They might: - Craft with Natural Materials: Using fallen leaves, bark, or flowers to create nature collages or art. - Learn Traditional Skills: Perhaps an elder from the local community visits to teach them how to weave baskets from reeds or demonstrates the ancient art of fire-making without matches. - Climbing and Building: Children might work together to build a makeshift bridge over a stream or climb a particularly challenging tree, learning about physics, teamwork, and their own physical capabilities in the process. Lunch and Rest Amidst Nature: Lunchtime isn't just about eating; it's an experience in itself. Children might forage for edible plants under supervision, learning about native foods, and then share a communal meal. Post-lunch, they could engage in quiet storytelling or take a restful nap under the shade, absorbing the sounds and rhythms of nature. Afternoon Deep Dive: The afternoons could be reserved for deeper exploration or projects. For instance: - Observing Wildlife: Setting up bird-watching stations or examining pond water under magnifying glasses to study microorganisms. - Eco-projects: Perhaps they've noticed erosion in a part of their woodland area. This could lead to a multi-day project where they learn about soil conservation and plant native shrubs to prevent further erosion. Closing Circle and Reflection: As the day comes to a close, the children gather once more. This is a time for reflection, sharing, and gratitude. They might discuss their favorite moments of the day, what they learned, or express their appreciation for a particular tree, animal, or even the wind. What are skills and attributes that forest schools foster in kids? Nature-based pre-schools and forest schools aim to weave environmental consciousness into the fabric of a child's being. The hope is that such early, profound connections with nature will not only cultivate happier, healthier individuals but also herald a generation ready to champion the cause of our planet. Connecting Children to Nature and Developing an Awareness of Nature - Fostering a Deep Emotional Bond: When children form emotional connections to the natural world, they are more likely to value and protect it as they grow. Playing by a stream, observing a butterfly's life cycle, or planting seeds and watching them grow can foster feelings of wonder, responsibility, and love for the environment. - Direct Experience of Nature's Fragility: Encountering a wounded animal or witnessing the effects of pollution in a local stream can be powerful lessons for young children. Such direct experiences underscore the impact of human actions on the environment. - Encouraging Environmental Curiosity: Nature-based schools provide hands-on experiences, prompting children to ask questions about the world around them. This early scientific curiosity can lead to a lifelong pursuit of knowledge and understanding of ecological systems. - Integrating Indigenous Wisdom: Many forest schools incorporate indigenous knowledge into their curricula, emphasizing the importance of living harmoniously with the land. - Instilling Sustainability as a Core Value: Learning about nature's cycles—like decomposition, water cycles, or food chains—can instill a deep understanding of sustainability. Children learn that resources are finite and come to value recycling, reusing, and reducing waste. Physical & Emotional Benefits to Children: Beyond academic learning, and some of the lofty longer term goals, forest schools also nurture a child's physical, emotional, and social growth in the near term. - Increased Physical Activity: Outdoor environments naturally encourage movement - climbing, running, and jumping - which boosts physical health and motor skills. - Strengthened Immune System: Regular exposure to nature and dirt can bolster a child's immune system, making them less susceptible to allergies and certain illnesses. - Mindfulness and Stress Reduction: The calming influence of nature can help reduce symptoms of ADHD and anxiety, fostering mindfulness and a sense of peace. - Enhanced Creativity and Problem Solving: Forest schools often present challenges like building shelters or navigating through woods. Such tasks not only develop critical thinking and problem-solving skills but also enable children to see themselves as active solution finders—a mindset vital for addressing larger global issues later in life. - Building Community and Collaboration: Nature-based learning emphasizes group activities and teamwork. By learning to collaborate and communicate effectively, children are equipped with skills that will serve them for taking future collective action against global challenges. Empowering a Generation to Address Global Challenges: It is hoped that children who attend forest schools will grow into adults who see themselves as caretakers of the planet, actively participating in conservation efforts and sustainable practices. - Social Responsibility: Beyond personal habits, forest school alumni may place environmental considerations at the heart of their community and professional endeavors, whether it's in business practices, urban planning, or community services. - Lifelong Learning and Adaptation: As environmental challenges evolve, these individuals are expected to be adaptable learners, always seeking knowledge and solutions to emerging issues. - Developing Stewardship and Leadership: These children, with their deep-rooted connection to nature, may become future leaders, policymakers, and advocates for strong environmental policies and action against climate change. Benefits of Forest Schools to Other Stakeholders The emergence of forest schools is reshaping the educational landscape, emphasizing the symbiotic relationship between nature and learning. It's not just the children who attend these schools that are reaping the rewards. From the education sector to society at large, and of course, the environment itself, the influence of forest schools is profound and multifaceted. Benefits For Parents: Every parent seeks the best for their child, hoping for environments that nurture and inspire. Forest schools offer: - Peace of Mind: Knowing their child is in a holistic and nurturing environment can provide significant comfort. - Community Building: Forest schools often foster a sense of community among parents, leading to supportive networks and friendships. - Enhanced Parent-Child Bonding: Parents get a window into their child's world, understanding their interests and discoveries, leading to enriched conversations and activities even at home. This approach helps bridge the gap between home and school, forging stronger family ties and community connections. Benefits For the Education Sector: The educational landscape is ever-evolving, seeking methods that resonate with the contemporary world. Forest schools introduce: - Diversified Learning Methodologies: Forest schools introduce alternative teaching and learning methods, promoting a more diverse and inclusive educational landscape. - Reduced Classroom Management Issues: Many educators find that behavioral issues diminish in outdoor settings where children feel more free and engaged. - Increased Engagement: The hands-on, experiential nature of forest schooling often leads to heightened interest and enthusiasm for learning. - Professional Development: Teachers also benefit from continuous learning, adapting to new teaching environments and methodologies. Such schools highlight the potential for growth and evolution in our educational methodologies, ensuring the sector remains dynamic and responsive. Benefits For Society: In the grand tapestry of society, each thread plays a crucial role. Forest schools contribute by: - Building Future Environmental Stewards: Children with a profound connection to nature are more likely to become adults who value and protect the environment. - Reduced Health Care Strain: Healthier, more active children can lead to a decrease in childhood obesity and related health issues, which benefits society as a whole. - Cultivating Community Values: Forest schools often instill values of cooperation, community building, and mutual respect, qualities that can influence broader societal attitudes. Such schools are not just shaping individuals; they are molding future communities and influencing societal values. Benefits For the Environment: Forest schools help protect the environment in the following ways: - Nature Appreciation: By fostering love and respect for nature, these institutions ensure that future generations recognize the value of preserving and caring for our environment. - Ecosystem Conservation: Forest schools often participate in conservation activities, such as planting trees or cleaning up natural spaces, directly benefitting local ecosystems. - Promotion of Biodiversity: Through their curriculum, these schools can indirectly promote the importance of varied and diverse plant and animal life, leading to more robust ecosystems. - Lower Carbon Footprint: Nature-based schools often have a minimalistic approach, utilizing natural resources, which can mean less energy consumption compared to traditional school settings. In essence, the forest school movement does not merely represent a change in education; it signifies a transformation in how we relate to our world. By recognizing the intrinsic value of nature in our formative years, we pave the way for a more harmonious and sustainable future. The forest school movement does more than modify education; it transforms our relationship with the world around us. As we delve deeper into the myriad benefits, it becomes evident that such schools aren't merely an educational alternative; they're a beacon for a more harmonious future. Call to Action: For parents and educators reading this, consider exploring your local forest school options. Even if you're part of a more traditional school system, there are always ways to incorporate elements of nature-based learning into your curriculum. Resources and Further Reading: For those intrigued by the forest school movement, delve deeper into these recommended reads and websites to understand more about nature-based education and its global impact. Books on Nature-Based Education: - Last Child in the Woods: Saving Our Children from Nature-Deficit Disorder by Richard Louv - The Nature Principle: Reconnecting with Life in a Virtual Age by Richard Louv - Forest School and Outdoor Learning in the Early Years by Sara Knight - Nature Preschools and Forest Kindergartens: The Handbook for Outdoor Learning by David Sobel Please note: These book titles link to Amazon. As an Amazon Associate, Republic of Green earns from qualifying purchases. If you make a purchase from these links, RoG will make a small commission, which does not affect your price. Websites about Nature-Based Schools: - The North American Association for Environmental Education (NAAEE) - A hub for environmental education resources, including forest schooling. - Forest School Association - The UK's professional body for forest school practitioners. While UK-centric, it offers a wealth of resources and perspectives that can be applied universally. - Children & Nature Network - Founded by Richard Louv, this network offers resources, research, and initiatives to connect children, families, and communities to nature. Videos About Nature-Based Education: - "Nature Kindergarten” | Frances Krusekopf | TEDxVictoria - Talk delves into the concept and benefits of nature-based kindergarten programs. - "Nature Deficit Disorder" | KQED QUEST - The San Francisco Bay Area public TV program explores why we need nature, and efforts to encourage children to play outdoors./li> - "Forest schools: Lessons in outdoor education" | CBS Sunday Morning - Correspondent Conor Knighton visits an immersive forest school in Oregon, where being outdoors all day – even in inclement weather – becomes part of the learning process. These resources can provide valuable insights and perspectives on nature-based education, its significance, and practical applications. Whether you're an educator, parent, or simply someone interested in alternative educational approaches, they're well worth a delve. Find a Forest School Near You: Please note, this list may not be complete, and, as always, you should do your own research on the quality and suitability of the programs for your family. - Nature’s Curriculum: How Outdoor Forest Schools are Changing Education - August 12, 2023 - Plastic Pollution: A Global Crisis - June 13, 2023 - Burt’s Bees: A Leader in the Sustainable Personal Care Industry - June 1, 2023

<urn:uuid:b5783828-adbc-4a81-9486-2cb65141bb1f>

CC-MAIN-2023-40

https://republicofgreen.com/natures-curriculum-how-outdoor-forest-schools-are-changing-education/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506686.80/warc/CC-MAIN-20230925051501-20230925081501-00779.warc.gz

en

When you dive into a narrative, you’re not just engrossed in a story; you’re delving into an exploration of intricate ideas and themes. Narratives are more than mere entertainment; they serve as vehicles to investigate complex societal issues, philosophical concepts, and historical contexts. They provide resolutions that offer catharsis and use language, style, imagery to paint vivid mental pictures. As a reader, you play an essential role in decoding these layers of meaning embedded within the narrative structure. This article will guide you on how narratives can be used as tools for exploring complex ideas or themes. So buckle up, because we’re about to embark on an analytical journey through the power of storytelling! - Narratives use language, style, and imagery to create vivid mental pictures and explore complex ideas or themes. - Character development and plot twists are important in storytelling to delve into complex ideas. - Symbolism and metaphor add depth to narratives and convey profound messages. - Perspective, voice, and genre choice deeply influence how stories unfold and themes are presented. Defining Narrative and its Structure Let’s dive right in and unravel the concept of a narrative and its structure, shall we? It’s more intriguing than you might think. At its core, a narrative is essentially a story or account of events, experiences, or the like that are narrated or recounted. Narrative types can range from literature to film and even video games. Each type is individualized by its specific structure and unique characteristics. Consider the evolution of narratives over time: they’ve evolved from oral tradition to written texts, moving pictures, interactive media, and beyond. This progression has allowed for an expansion in how narratives can be structured- allowing for increasingly complex ideas or themes to be explored. The structure of a narrative typically involves elements such as plot, characters, setting, conflict and resolution. These components work together to create an engaging storyline that pulls readers into exploring various themes within it. The interaction between these elements allows for rich detail-oriented exploration of intricate ideas – whether philosophical musings on humanity’s purpose or social commentary on contemporary issues. Without using clichés like "In conclusion", let’s acknowledge how crucial understanding narrative structure is in delving deep into complex themes – offering us not just entertainment but also profound insights into various aspects of life itself. The Power of Storytelling In the realm of literature, storytelling wields immense power in delving into intricate topics or concepts, providing a medium through which these can be dissected and understood. This is accomplished through progression of narrative, character development, and plot twists. Character Development: The evolution of characters within a story is crucial for exploring complex ideas. As characters grow, change, or face challenges, they reflect different facets of the theme being explored. Your understanding deepens as you witness their struggles and triumphs. You’re able to see how various circumstances impact their decisions. Plot Twists: Unexpected turns in the story keep you intrigued while bringing new perspectives to the central idea. They introduce fresh dimensions that might have been overlooked in a straightforward narrative. These surprises force you to rethink your understanding of the theme. It’s fascinating how storytelling employs these elements, allowing themes to unravel gradually rather than being plainly stated. By connecting with characters on their journey and navigating plot twists alongside them, you get an immersive experience that fosters comprehensive understanding. And so arises the indomitable power of storytelling; it engages you deeply while subtly illuminating complex ideas. Narratives and Societal Issues You can’t deny the profound impact stories have in shedding light on societal issues, often presenting them through a lens that fosters empathy and incites change. Cultural narratives, for instance, serve as powerful tools in exploring complex themes such as gender inequality or systemic racism. They allow you to experience these issues from diverse perspectives, encouraging critical thinking and fostering a deeper understanding. Consider this table: |To Kill a Mockingbird||Racial Injustice| |The Handmaid’s Tale||Women’s Rights| |Animal Farm||Corruption of Power| Each narrative directly confronts pertinent societal problems while subtly urging you to question, challenge and rethink established norms. Narrative therapy is another effective way to delve into complicated ideas. It offers an opportunity to rewrite your own story, thereby allowing room for personal growth and transformation. By deconstructing your experiences and reframing them within the context of larger societal structures, you can gain fresh insights into how these systems influence individual lives. Understanding how narratives explore complex themes doesn’t just broaden your worldview; it compels you to engage more actively with the world around you. So go ahead – pick up that book or write down your thoughts – to unlock new avenues of critical engagement with society’s intricate tapestry. Exploring Philosophical Themes Delving into philosophical discourse isn’t just about lofty debates and abstract concepts; it’s a journey that can reshape your perception of reality itself. At its core, narratives provide an accessible platform to toy with complex themes like existentialism or absurdism. Consider existentialist narratives, which often grapple with the meaning and purpose of life. Characters in such stories are frequently faced with profound dilemmas that force them to question their existence and the choices they make. These narratives subtly guide you through introspection, confronting deep-seated beliefs about identity, free will, and individuality. Shifting gears towards Absurdism exploration in literature, you’ll find characters trapped in irrational universes where traditional values lose their significance. Such narratives challenge you to reassess your understanding of logic and reason by presenting scenarios where conventional wisdom ceases to apply. They poke holes in our collective certainties, leaving you questioning what we hold as ‘normal’ or ‘rational’. Narratives don’t merely tell tales; they offer a mirror for reflection on humanity’s deepest questions. Through exploring philosophical themes via storytelling, you’re invited to partake in this grand expedition of self-discovery and intellectual growth. Narratives and Historical Context Ever thought about how stories can transport you back in time, providing a snapshot of history’s most pivotal eras? Narratives are powerful tools that can immerse us into diverse timelines and elucidate complex ideas or themes. They act as vehicles that not only entertain but also educate, often shedding light on the societal circumstances and historical context of a particular period. Yet, it’s crucial to approach narratives with a discerning eye. Historical inaccuracies can creep in, either purposefully or inadvertently. These distortions may project anachronistic values onto past events or oversimplify intricate issues for the sake of narrative coherence. Therefore, while narratives provide invaluable insights into the past, we must remain cautious of their limitations. So when exploring historical narratives, remember this: they’re more than just chronicles; they’re interpretive constructs that frame history through a specific lens. Their real power lies in prompting us to question and probe deeper – to understand the complexities behind each story. As such, they serve as potent platforms for exploring multi-faceted ideas within their respective contexts – whether socio-political intricacies or ideological dichotomies embedded within historical happenings. Using Symbolism and Metaphor Moving on from the way narratives can be wrapped around historical contexts to give us a deeper understanding of complex themes, let’s delve into how symbolism and metaphor are used. These literary devices provide another layer of depth in exploring intricate ideas. As a writer, you have the power to use symbolic representation and metaphoric interpretations to convey profound messages subtly. Here are three ways you can accomplish this: Symbolism: By assigning symbolic values to certain objects or characters in your narrative, you allow readers to comprehend deeper meanings beyond what’s explicitly stated. Visual Metaphors: Delivering complex ideas through visual metaphors not only makes them more approachable but also provides room for multiple interpretations. Abstract Metaphor: This technique can help represent abstract ideas with tangible comparisons, making it easier for readers to connect and engage emotionally. By intertwining these techniques within the fabric of your narrative, you create an enriched tapestry that invites readers to explore beneath the surface-level text. This creative process involves decoding layers of meaning derived from symbols and metaphors, ultimately painting a picture that resonates on an emotional level while communicating complex themes effectively without being overly explicit or didactic. The Role of Perspective and Voice In the realm of storytelling, it’s your perspective and voice that can truly make a story come alive for your readers. They serve as powerful tools to explore complex ideas or themes. Perspective allows you to delve into different viewpoints and experiences, offering insights into character development and emotional depth. It brings nuances that can shape how readers perceive your narrative. |Character Development||Allows exploration of characters’ thoughts, feelings, motivations||Conveys personality, growth of characters through specific language use| |Emotional Depth||Provides insight into characters’ emotional responses, personal struggles||Communicates emotion effectively through tone| Voice is equally significant in expanding upon intricate themes. The unique way a narrator speaks or thinks contributes substantially to the overall mood and feeling of the story. Different voices can raise questions about reliability or truthfulness, adding further layers to your narrative. So remember this: Your choice of perspective and voice isn’t just a stylistic decision—it’s an opportunity to engage with big ideas on a deeper level. How you tell a story can be as important as what you’re telling. Make sure every word counts towards developing complexity in your narrative. The Impact of Genre Now let’s delve into the impact of genre on narratives. Consider two contrasting styles: realism versus fantasy, and literary fiction versus genre fiction. Every choice in these categories can deeply influence how stories unfold, how characters develop, and ultimately, how themes and complex ideas are presented to you as a reader. Realism vs. Fantasy Diving headfirst into the intriguing confluence of realism and fantasy, we’re confronted with a narrative canvas where stark truths can be explored through the veil of make-believe. Through fantasy world building, you weave intricate tales that are more than mere flights of fancy. They echo our realities, magnifying complex themes and ideas to an epic scale. Here’s where mythological influences come in handy. Drawing on timeless myths, you present familiar struggles in unfamiliar settings, enabling a distant perspective on pressing issues. This blend of realism and fantasy provides an exciting framework for dissecting societal norms or questioning moral boundaries. So don’t shy away from crafting fantastical narratives! They can serve as mirrors reflecting our own world – if only we dare to look closely enough. Literary Fiction vs. Genre Fiction Venturing into the realm of literary fiction versus genre fiction, you’ll find yourself traversing between nuanced character studies and predefined tropes. You’ll notice that literary fiction places a heavier emphasis on character development. It delves deep into the psyche of characters, exploring their motivations, emotions, and personal growth. On the other hand, genre fiction often relies heavily on plot twists to keep readers engaged. Its primary focus is to entertain with well-established patterns and conventions. This doesn’t mean it lacks complexity or depth; rather it explores themes within a set framework. Understand that both forms can successfully delve into complex ideas but do so differently. Literary fiction will draw you into its introspective exploration while Genre Fiction invites you through its familiar yet captivating narrative arcs. Narrative Structure and Complexity Through understanding narrative structure, you’re able to delve into the intricate layers of a story, unraveling its complexities and revealing deeper themes. This process allows for an exploration of complex ideas that might otherwise remain hidden beneath the surface level action. Character development plays a crucial role in this exploration. As characters grow and change throughout the narrative, they often mirror or contrast with overarching themes in unexpected ways. These shifts can serve as plot twists themselves, forcing you to reconsider your initial understanding of both character motivations and thematic implications. Furthermore, how these developments are structured within the narrative can heighten their impact. For instance, if a revelation about a character’s past comes at a critical point in the plot – it not only adds depth to that character but also reframes preceding events in a new light. It brings complexity by challenging preconceived notions and compelling you to reassess your perspective. So remember, it’s through dissecting and analyzing each element of the narrative structure that you truly appreciate its complexity. This deep dive offers fresh insights into characters’ psyche, influences plot progression, and uncovers profound interpretations of underlying themes. The Art of Subtext Moving away from the nuances of narrative structure, let’s delve into another facet of exploring complex ideas in narratives – subtext. Subtext is like a hidden layer beneath the obvious dialogue or action. It’s this undercurrent that can be harnessed to subtly convey profound themes and intricate thoughts. Here are some ways through which you can utilize subtext: - You could use silences more than words to denote tension or conflict. - A character’s actions might contradict their spoken words, creating intrigue. - Repeated symbols or motifs can serve as indicators of underlying themes. - The setting itself can reflect deeper emotions or state of affairs. - And never underestimate the power of nuanced character development, it adds emotional resonance and depth. Through subtle hints in dialogue, metaphors, symbolism, and most importantly character development, one can create a rich tapestry of subtext. This lets your readers connect with your characters on an intimate level and feel their emotional resonance. Mastering this art requires patience and practice but once achieved, it elevates your narrative from just storytelling to an exploration of life’s complexities. The Role of Conflict In your journey as a writer, you’ll find that conflict isn’t just about dramatic showdowns or heated arguments; it’s often the secret sauce that makes your tale irresistible. Conflict lets you delve into complex ideas and themes, providing a platform for both plot progression and character evolution. Consider conceiving of conflicts through two main categories: internal and external. The table below outlines how these types can facilitate exploration of profound concepts: |Conflict Type||How It Explores Complex Ideas| |Internal||Reflects personal struggles, mental dilemmas, moral quandaries| |External||Shows societal issues, interactions with others, environmental factors| Internal conflict is essential in character evolution. It allows characters to confront their fears or insecurities – an aspect that resonates with readers because it mirrors real-life human experiences. On the other hand, external conflict echoes larger societal themes and presents an opportunity for conflict resolution. This process can depict a change in societal structures or attitudes – illustrating dynamic shifts within a narrative world. So remember that leveraging conflict effectively not only drives your story forward but also enables the exploration of intricate ideas and themes. By consciously doing so, you’ll make your narrative richer and more engaging for readers. Resolution and Catharsis After all the plot twists and turns, it’s resolution and catharsis that provide a satisfying end to your tale, offering readers a sense of closure and emotional release. This last stage in your narrative can often be the most potent, as it is here where the characters and the audience alike grapple with complex ideas or themes. There are several ways you can use resolution and catharsis to explore complexities: You can create an emotional catharsis through which your readers experience relief from built-up tension or anxiety. This might entail resolving conflicts or revealing truths about your characters. By showcasing a character’s personal transformation, you allow readers to reflect on their own growth and change. An unexpected turn of events in the resolution could provoke thought, causing readers to reassess their understanding of certain themes. The resolution isn’t just tying up loose ends; it’s also about evoking emotions, promoting introspection, and pushing boundaries. It’s where your narrative’s underlying concepts come full circle. So don’t shy away from exploring deep-seated issues during this phase of storytelling. Your readers will appreciate the depth and layers woven into your tale – making for an engaging read that resonates long after they’ve turned the last page. The Use of Language and Style Crafting your tale isn’t just about the plot and characters; it’s the way you weave words together, your unique style and language, that truly brings your story to life. Linguistic innovation lets you break free from conventional norms, enabling you to express complex ideas or themes in a fresh, compelling manner. With this tool at your disposal, even familiar narratives can be made new and thought-provoking. Through stylistic interpretation, you can manipulate sentence structures, punctuation usage, and even word choice to create different moods or tones. This allows for subtlety in expressing themes – a character’s transformation might be mirrored through changes in narrative tone; an oppressive setting could be conveyed through heavy, intricate sentences. The possibilities are endless. Remember that how something is said often carries as much weight as what is being said. Your choice of language can transform an ordinary story into an extraordinary exploration of complex ideas or themes. A well-crafted narrative relies not only on its plot but also its prose – so go ahead and experiment with your linguistic style until it perfectly conveys the complexity of your narrative world! The Power of Imagery Moving beyond the influence of language and style, another powerful tool at your disposal is imagery. Imagery allows for an immersive exploration of complex ideas or themes in a narrative through visual aesthetics and sensory details. Visual Aesthetics: Striking visuals can paint vivid pictures in the reader’s mind, helping them to grasp abstract concepts more effectively. Use descriptive language to create compelling images that encapsulate intricate ideas. Sensory Details: Bring your narrative alive by incorporating all five senses – sight, sound, taste, touch, smell. These sensory details make your story palpable to readers, bridging the gap between understanding and experiencing. Symbolic Associations: Images can serve as metaphors or symbols representing deeper meanings or themes within your story. This adds depth and layers to your narrative. Evoking Emotion: Powerful imagery can evoke strong emotions in readers, which could lead them towards a new level of understanding or perspective. Harnessing the power of imagery isn’t just about creating beautiful scenes; it’s about using these visual elements strategically to navigate complex ideas within your narrative seamlessly without overwhelming your audience with dense exposition. Utilizing imagery opens up boundless avenues for exploring complexity with finesse and subtlety in any given narrative context. The Role of Readers As an author, you’re not just spinning a tale for yourself; your readers play an integral role in shaping the story and its impact. They are essential co-creators of meaning, deciphering nuances and delving into the depths of the plot. The power of reader interpretation is pivotal as it allows them to engage with complex ideas or themes embedded within narratives. Consider this: your narrative can depict a character grappling with moral dilemmas or wrestling with existential questions. Here, character empathy comes into play. As readers empathize with characters, they subconsciously grapple with those same themes and dilemmas. This immersive interaction fosters a deep exploration of intricate concepts that may otherwise remain elusive. The resonance between a narrative’s theme and the reader’s personal experiences further enhances their understanding of layered ideas. A potent narrative evokes emotions and provokes thought – challenging preconceived notions, inciting introspection, or triggering self-realization. So remember this when crafting narratives: it isn’t just about telling an engaging story – it’s about challenging your readers to think deeper, feel more profoundly, understand more fully. It’s through their eyes that your story truly comes alive and its complexities unfold.

<urn:uuid:4466b0cd-da92-4957-8aa9-a1e580eb6911>

CC-MAIN-2023-40

https://brilliantio.com/how-can-a-narrative-be-used-to-explore-complex-ideas-or-themes/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506420.84/warc/CC-MAIN-20230922134342-20230922164342-00879.warc.gz

en

Junior High School Curriculum LANGUAGE ARTS – JUNIOR HIGH SCHOOL The English program has been designed to prepare students for complex studies of literature in high school. The fundamentals of reading comprehension and written expression are accentuated, with special attention paid to developing the formal essay. An emphasis is placed on symbolism and analysis of text. The ability to do close reading of literary writings is stressed throughout the year.Opportunities for creative writing are provided through the use of varied writing compositions including the writing of short stories and poetry.A wide range of topics is covered over the next three years. The reading curriculum represents a variety of genres and interests. This year’s reading list invites the students to learn from social conflicts, tragedy, the art of survival, and overcoming obstacles. In addition to the Wordly Wise vocabulary workbook, much of the vocabulary studied is taken straight from our novels.This will help them to have a greater understanding of the material they will be reading. The following four broad goals summarize the aims of the course: A. To help students become more perceptive and skilled readers. B. To develop fluent and proficient written expression. C. To foster critical and conceptual thinking skills. D. To cultivate an awareness of the beauty and value of writing and literature. SIXTH GRADE ENGLISH This year students will be using a workshop model for writing. This model is geared toward helping students to try new strategies in their writing and pushes them to write across a variety of genres. In addition, it will help them deepen their understanding of the writing process and skills they learned in fifth grade. In reading we will be reading novels and deepening our understanding of story elements, especially in the area of themes. SEVENTH GRADE HONORS ENGLISH The Seventh Grade Honors English Class is designed to give students who excel in English the opportunity to develop their skills and be challenged by course material.They will be taking the Eighth-Grade curriculum, with attention given to broadening their world views and strengthening their writing.In addition to writing skills, students will experience timeless classic novels that will challenge and engage them to prepare them for a more rigorous High School Curriculum. EIGHTH GRADE ENGLISH Eighth Grade ELA is designed to prepare students for High School.In addition to reading timeless classics, students will work on their writing and vocabulary skills.They will write, edit, close read, and research.These fundamental skills are enhanced and focused on throughout the year, which will prepare them for their final Capstone project. MATHEMATICS – JUNIOR HIGH SCHOOL SIXTH GRADE MATHEMATICS Students will deepen their understanding of decimals and fractions by using different operations to solve problems. They will expand their knowledge of fractions by using them to create and understand ratios and proportions. They will also continue using the order of operations, adding exponents to this process. Students will expand their knowledge of rational numbers with the introduction of negative numbers. They examine the concepts of volume, area and surface area, as well as learning to convert measurements. Students begin to analyze and interpret statistical data. SEVENTH GRADE MATHEMATICS Students complete their development of the rational number system with the inclusion of negative decimals and fractions. They are expected to be fluent with all operations on non-negative rational numbers, as well as being proficient with addition and subtraction of all rational numbers. The concepts of proportional reasoning and similarity will be used to solve problems. Students will explore percentage in real-world applications. Students will also locate points in any of the four quadrants on the coordinate plane and translate linear relationships in table, graph, and equation forms. Students extend their understanding of probability into multiple events. Algebraic sense also develops as students solve two-step equations in one variable. EIGHTH GRADE MATHEMATICS Students will become proficient in computation with all rational numbers and use proportions to solve a variety of problems. They will understand the need for precision when measuring and use derived units of measure. Students will understand the concept of distance and the relationship between distance and the Pythagorean Theorem. They will recognize three-dimensional shapes represented in two-dimensional drawings and apply transformations to geometric shapes in the coordinate plane. Eighth graders find probability of compound events and analyze bivariate data sets. They also understand recursive forms of linear and exponential relationships and solve two-step equations and inequalities. HONORS MATHEMATICS-JUNIOR HIGH SCHOOL SIXTH GRADE HONORS MATH The Junior High School Honors Math Program is designed to give students who excel in math the opportunity to develop their skills and be challenged by course material.In the Sixth Grade, students take the Seventh-Grade math course, with attention given to covering the skills needed to bridge the gap between the Fifth and Seventh Grade curricula. The first half of the year is devoted to Algebra.To ensure mastery, a review of decimals and the place value chart is given.Students then explore negative and positive integers and rational and irrational numbers.They learn order of operations, how to write and evaluate variable expressions, and how to simplify and solve multi-step algebraic equations and inequalities.They also cover scientific notation, exponents with positive and negative bases, and negative exponents. In the second half of the year, students delve into the relationship between decimals and fractions, and learn how to add, subtract, multiply, and divide negative and positive fractions.A unit on Coordinate Geometry follows, where students work with equations with two variables, and graph linear equations and rigid motions.The year ends with a unit on Geometry, where they explore square roots, Pythagorean Theorem, angle measurements, and pairs of angles. SEVENTH GRADE HONORS MATH This is a Pre-Algebra course and is designed to prepare students for Algebra 1.It builds on many of the previous course’s topics and advances them much further. Students begin the year by exploring and learning to find the area and volume of various figures. Students then delve into translating word phrases into variable expressions, creating legends, and eventually solving word problems.They explore the properties of numbers and simplify and solve multi-step algebraic equations and inequalities with fractions and decimals. They learn ratios, proportions, and percent, and work on becoming fluent in converting between decimals, fractions, and percent.They also explore beginning probability, and do more advanced work with scientific notation and multiplying and dividing exponents. In the second half of the year, students explore and learn how to simplify, add, subtract, multiply, and divide fractions with variables. They also learn how to solve equations with variables on both sides of the equal sign and how to work with literal equations. A unit on functions and graphing follows, where students learn function notation, how to transform linear equations from mx+b form into standard form, how to graph functions, and how to tell if a relation is a function.They identify and explain the relationship between the domain and range and discover how to write a rule for a linear function from both a table and a graph.Students also learn how to graph linear inequalities on the coordinate plane. The year concludes with learning how to add, subtract, and multiply polynomials, and how to factor and find the roots of quadratic expressions. EIGHTH GRADE HONORS MATH Students take the 9th Grade Algebra 1 Common Core Regents course, with the goal of passing the Algebra 1 Regents at the end of Eighth Grade. This course incorporates the use of an eTextbook and a graphing calculator. The year is broken down into four overall units: 1. The Relationship Between Quantities and Reasoning with Equations and Their Graphs, which entails working with functions, solving equations and inequalities, and creating equations and inequalities to solve word problems. 2. Linear and Exponential Functions, which covers sequences, graphing, transformation of functions, and using functions and graphs to solve problems. 3. Polynomial and Quadratic Expressions, Equations, and Functions, which delves into quadratic expressions, using different forms for quadratic functions, and function transformations and modeling. 4. Descriptive Statistics, which encompasses working with univariate and bivariate data. Particular attention is paid to the development of understanding the language needed to dissect a question, and how to explain and justify how a problem is solved. SCIENCE-JUNIOR HIGH SCHOOL SIXTH GRADE SCIENCE In the Sixth grade, the students are introduced to the Earth as a system within the solar system. Students are introduced to the planets in the solar system and consider them in the context of their distance from the Sun and their size and composition. This course continues with a study of plate tectonics. Students will study earthquakes, including forces in the Earth’s crust, seismic waves, and how earthquakes are monitored. They learn about the Earth’s layers, their composition, and how the Earth’s subsurface processes affect its surface features. Students learn about the properties and identification of minerals, different types of rocks, and the rock cycle. The year concludes by studying human impact on the environment and how the use of natural resources can impact the environment. SEVENTH GRADE SCIENCE In the Seventh grade, students study Life Science, including human body systems, an introduction to cells and heredity, and the diversity of life. Students will learn how we can promote the growth and development of plants and animals, and how changes in ecosystems affect interacting relationships among organisms in an area. The year will conclude with of evidence of common ancestry and diversity and changes in organisms over time. EIGHTH GRADE SCIENCE In their final year of Science at LES, eighth graders will focus on Physical Science. Students will learn and be able to describe how chemical reactions can be used to describe the law of conservation of mass, how the transfer of thermal energy affects different types of matter, and how forces impact motion in our daily lives. At the end of the year, we will focus on potential and kinetic energy as well as energy transfer in temperature. Students will be able to answer questions about how kinetic and potential energy interact in a system and how to maximize thermal energy transfer in a system. SOCIAL STUDIES-JUNIOR HIGH SCHOOL SIXTH GRADE SOCIAL STUDIES Fifth Grade approaches Social Studies as part of an integrated Humanities course. Students will study of Ancient Civilizations and the influence they have on modern times. As they learn about the Sumerians, Egyptians, Assyrians, Chaldeans, and Persians, we focus on many of the same themes and questions: How did geography influence their culture; what were their contributions to modern day architecture, engineering, and science; what was the role of religion and government; and how did their military support their efforts? Their study of Greece and Rome dominates the second half of the year. They continue with the same themes and questions but spend additional time studying cultural contributions as they expand to language development, art, poetry, science, philosophy, and law. SEVENTH & EIGHTH GRADE SOCIAL STUDIES Through the use of historical reenactments, mock trials, simulations, field trips, and primary source document analysis, students learn about the most important events and movements throughout American history through the eyes of everyday Americans. Students are encouraged to think critically and understand the context of historical events by comparing multiple perspectives-European explorers and Native Americans; colonists and the British government; farmers and merchants; city dwellers and pioneers. Students are introduced to overarching themes that run throughout history and connect different historical events, moving beyond the “what?” and “when?” of history, to a greater understand of “how?” and “why?” Grade 7 Social Studies begins with Columbus’ journeys that led up to colonial settlement. Students study the changing relationships with the colonies and England, setting the stage for the Revolutionary War. We will focus on the important battles of the war that establish a new nation and all the hardships that ensued.We familiarize ourselves with how a young inexperienced government runs a growing nation with vast regional differences.While focusing on themes of division and compromise, we set the stage for the Civil War.All of the above is achieved and learned by mock trials, battle reenactments, simulations, field trips and studying primary source documents. Eighth grade begins with discussing the founding of our nation. Students analyze the precedents set by our founding fathers as we examine the aftermath of the Revolutionary War, and set the stage for the War of 1812 and later, the American Civil War. During our study of the Civil War, students dive into the lives of both soldiers and everyday citizens to gain a deep understanding of what life was like in both the North and the South. We explore the question, “How do you heal a wounded nation?” when learning about Reconstruction, and debate whether it was a success or a failure in accomplishing many different goals. Students get the opportunity to be a “guest lecturer”, studying an aspect of post- Civil War expansion and preparing a lesson for their classmates, working on important research and presentation skills. We explore the significant changes in our country through expansion and industrialization, laying the foundation for America looking outward to expansion overseas, and WWI. We discuss the economic growth and challenges of the Roaring 20s, and the Great Depression, and then investigate the underlying causes of WWII, highlighting American experiences throughout the War, and laying a foundation for a study of post-War America. The year ends with a Capstone project, an interdisciplinary research project. Students choose their own research question, based on a book read by the Class in Language Arts, to investigate, gathering and synthesizing information and writing a research report. Working with an advisor, students learn how to evaluate sources, synthesize information, write a research report, and create a PowerPoint presentation to share their findings with their classmates and faculty, in an engaging presentation. Past topics have included: Production and consumption Book: The Omnivore’s Dilemma How have the lessons of WWII impacted the world today? Book: The Good War The causes, effects, and aftermath of The Civil Rights Movement. Book: Just Mercy The Impact of Immigration in the World Today. Book: The Far Away Brothers: Two Young Migrants and the Making of an American Life RELIGION-JUNIOR HIGH SCHOOL SIXTH GRADE RELIGION The overall theme of the Sixth-Grade religion course is God’s Love in Our World.Through art, music, classroom discussions, and the reading of Bible passages, students explore the role God plays in their lives and that everyone, regardless of circumstance, is precious to God.Students’ complete homework assignments and create art projects that explore and deepen their own personal relationship with God and reinforce the concept that nothing can separate them from God’s love. With the knowledge that God loves them unconditionally, students explore what it means to live a meaningful human life.They delve into concepts such as being peacemakers, spreading God’s love, and dealing with the conflicts that inevitably arise in their daily lives. Students also acquire an understanding of the historical events and cultural norms that contributed to the events of the Bible.They read in detail about the birth, ministry, death, and resurrection of Jesus and see how societal factors influenced the circumstances of Christ’s life. They further discuss what impact Jesus’ life has on their own. SEVENTH GRADE RELIGION The Seventh Grade religion course furthers explores the role of God in the life of a child in the 21st Century.Students begin by exploring who God is—their Creator, Protector, Loving Parent, Helper, and Shepherd.Through Biblical and contemporary stories, music, art projects, and writing, they then examine where God is in their lives and explore the concept that God has no limitations.They also study God’s promises, with a particular emphasis on the fact that He has a plan for their future. Students delve into Jesus’ Sermon on the Mount and analyze what this says about their own behavior today.They also follow the Acts of the Apostles after Jesus’ resurrection and discover how the Holy Spirit transformed ordinary men into extraordinary leaders and teachers.Students then question and explore how God can affect change in their own lives.Through discussions of current events, they also examine the role of God in the world around them. Before Christmas, the concept of The Trinity (God The Father, God The Son, and God The Holy Spirit) is introduced.With a new understanding that God Himself was born in a stable, students read the complete Christmas story.They spend time focusing on all the modern-day symbols and music of Christmas and discover the religious significance of the decorations that adorn their homes. Similarly, later in the year they read the events of Holy Week with the new understanding that it was God who died and rose for them.They also analyze all the contemporary symbols of Easter. The year ends with a unit on prayer, where a study of The Lord’s Prayer culminates with students translating it into modern, kid-friendly language.They discuss God’s answers to prayer, how to hear and understand His answers, and how to see prayer at work in their own lives. They are encouraged to branch out and understand that there are multiple ways to pray, and that prayer does not have to be “boring” (or even involve words!). EIGHTH GRADE RELIGION: CHRISTIAN LIVING The goal of the Eighth-Grade religion course is to develop in our students a sense of what it means to live their lives faithfully. Religion cannot be just stories and concepts from sacred scripture written 2,000 to 4,000 years ago. Our Christian faith needs to be lived daily and our journey through life becomes fulfilling when we are being guided by our faith. Our relationships with God and each other will be positive when our faith is applied to our real-life experiences. The curriculum for the course is flexible. We begin by getting feedback from our students with respect to what is important to them and what is a concern for them. The lessons address these concepts and issues. We learn the difference between a debate and a discussion, and it is made clear that our class time will involve discussions, not debates. We listen to one another and learn to value each other’s opinions. There is no win/lose. The objective is growth in our faith traditions and our journey through life with God. Students will be responsible for both in class assignments and homework that will prompt them to think about biblical concepts and apply them to their everyday life. The focus is not on intense research, but rather on assisting the students to make a practical connection between God’s guidance in scripture and the decisions we make every day. Comparative religion is a major section in our curriculum. We study four of the world’s major religions (Buddhism, Islam, Judaism, Christianity) and discuss how each deals with significant issues such as war and peacemaking; equality between men and women; the Afterlife; social injustice; and attitudes towards other religions. The students work in groups to research and present these various issues for each religion. Each issue discussed ends with a summary of the similarities and differences between the religions and conclusions with respect to how we should live faithfully. The year concludes with a discussion regarding what topics were most meaningful to each of the students and what we learned that truly helped us to live our lives faithfully. SPANISH-JUNIOR HIGH SCHOOL New this year, Spanish is a graded class, taking into consideration the following: Tests: at the end of each unit seen in the textbook an exam will be applied. Before the exam there will be a review of the chapter in class and the preparation for the exam. The student should be able to understand the following parts in the exam: -interpretive (escuchar/to listen) -interpersonal (hablar/to talk) -interpretive (leer/to read) -presentational (escribir/to write) -cultures/comparison (comparer culturas/compare cultures) Homework: Most written/artistic work will be completed in the classroom. However, some unfinished work may need to be completed for homework.Homework assignments expected to be completed for the next class. Effort and participation: Spanish class takes place three times a week for 45-minute blocks of time.Spanish is taught in an interactive, authentic, audio-visual way that completely engages the students in the learning of foreign languages.The primary reason we learn another language is so that we can communicate with others; therefor the students need to be active and engaged learners. Also, for a better understanding of Spanish I would like to include technology by using free applications such as: Autentico App (from the textbook) Google Art and Culture App MUSIC-JUNIOR HIGH SCHOOL The Senior Choir is voluntary and is open to students in Grades 6 – 8 who want to fine-tune their musical abilities.The focus shifts to developing individual skills—proper breathing, posture, mouth position, and diction.Students learn to sing in small groups to develop two- and three-part harmony. The Senior Choir performs multiple times during the year, at Chapel Services during holidays and for special events.The year culminates with The Musicale, where they perform multiple songs from a variety of genres. This is a mandatory performance. ART-JUNIOR HIGH SCHOOL MIDDLE SCHOOL ART Students will continue to explore traditional media of colored pencils, crayons, markers, and paint. They will study different styles of art, based on various artists. In addition, they will be introduced to string art in the forms of lanyard, cross stitch, and embroidery. Students will understand that art can be created in many forms and learn how to combine different media to create one piece of art.

<urn:uuid:4f16aa6d-4381-4628-82e7-b8e168b50649>

CC-MAIN-2023-40

https://lesbayridge.org/program/junior-high-school-years/junior-high-school-curriculum

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510334.9/warc/CC-MAIN-20230927235044-20230928025044-00779.warc.gz

en

Have you ever wondered why we say ‘break a leg’ instead of ‘good luck’ before someone takes the stage? Colloquialisms like these are an integral part of our everyday language and communication, giving color and character to our conversations. So, buckle up and get ready for a linguistic adventure as we explore the captivating realm of colloquialism, unraveling the stories behind these everyday expressions that are deeply woven into the fabric of our lives. Definition of Colloquialism Colloquialism refers to informal language, expressions, or phrases used in everyday conversation. These expressions may vary depending on geographical regions or cultural backgrounds and are generally more relaxed compared to formal language. While colloquial language can help people connect and communicate more naturally, it’s essential to keep in mind that colloquialisms might be unfamiliar or confusing to some audiences, especially non-native speakers or those from different cultural backgrounds. |ain’t||am not / is not / are not| |g’day||hello / good day| |hang out||to casually spend time together| |break a leg||good luck| Origin of Colloquialism Colloquialism can be traced back to the early forms of human communication. The origin of these informal expressions is often rooted in regional dialects, social culture, or the need for a more casual way of expressing oneself. Over time, common expressions and phrases within a community become colloquial, reflecting the unique culture of that particular group. As languages evolve and societies interact, colloquialisms often shift or change their meaning. Some colloquial expressions may become widely understood and accepted in a mainstream language, while others may fade into obscurity or become outdated. The use of colloquial language can greatly vary between countries and even within different regions of the same country. This linguistic diversity reflects the unique social and cultural contexts in which colloquialisms emerge. Common Characteristics of Colloquialism Colloquialism is a distinctive element in everyday speech, showcasing the informal nature and regional variations within a language. It is characterized by the following features: - Informality: Colloquialisms are informal expressions, often used in casual conversations among friends and family. - Regionalism: They vary depending on geographical regions, reflecting the unique dialects, slang, and expressions of specific areas. - Context-dependent: The meaning of a colloquialism often relies on the context in which it is used, and it may not be understood by speakers of other regional dialects. - Dynamic nature: Colloquialism evolves constantly, with some expressions falling out of use while new ones emerge. Here are some unique examples of colloquialisms from various English-speaking regions: |United States||y’all||you all (plural form of ‘you’)| |Australia||fair dinkum||genuine, honest, true| |United Kingdom||blimey||an exclamation of surprise| |Ireland||grand||fine, okay, good| |Canada||loonie||the Canadian one-dollar coin| Bear in mind that the use of colloquialisms in formal writing and professional settings should be avoided, as it can create confusion or misunderstandings among readers who are not familiar with these regional expressions. Colloquialism vs Formal Language When we communicate with others, it’s essential to understand the context in which we use colloquial or formal language. The situation, audience, and purpose of the communication are critical factors in determining which type of language is most appropriate. For example, when participating in a casual conversation with friends, colloquial language is commonly used. This type of language feels more natural and allows for more relaxed interaction. On the other hand, when writing a formal document or giving a professional presentation, formal language is expected to convey information in a structured and clear manner. Here are more examples of colloquialism: |bail||to leave suddenly or abandon a situation| |gobsmacked||astonished or extremely surprised| |dodgy||suspicious or of low quality| |chill out||calm down or relax| |catch some Zs||to go sleep| Remember, understanding the context and audience is crucial in determining whether to use colloquial or formal language. Be mindful of the situation and adapt your language accordingly for effective communication. Purpose of Colloquial Language Colloquial language serves a multitude of purposes in communication, writing, and everyday life. Its main functions include: Colloquialisms often indicate an informal setting or conversation among peers, friends, or family members. They create a relaxed tone and make communication more approachable and engaging. For example: - Wanna instead of Want to - Gonna instead of Going to - Y’all instead of You all Establishing Character Voice In literature and other forms of written work, colloquial language helps to define and develop a character’s voice, making them more relatable and authentic. For instance: - “I ain’t got no time for that.” - “She dunno where he’s gone.” These sentences use colloquialisms to create a distinct personality for a character, giving them depth and individuality. Creating Cultural Resonance Colloquial language can establish a connection between cultural backgrounds and shared experiences. Regional dialects and slang terms often have unique colloquialisms that resonate with people from specific locations or communities. Some examples include: |Colloquial Expression||Place of Origin||Meaning| |“He’s a fair dinkum bloke.”||Australia||“He’s a genuine person.”| |“That’s sound.”||United Kingdom||“That’s good.”| |“She’s hella cool!”||California||“She’s very cool!”| By incorporating these distinct expressions, colloquial language forms a cultural bond and provides a sense of belonging among its speakers. Regional and Cultural Variations Colloquialisms often vary significantly between different regions and cultures, helping to define and distinguish the unique linguistic identity of each area. These colloquial expressions can provide insight into the customs, history, and values of a particular group of people. For instance, in the United States, there are colloquialisms specific to certain states or regions, such as “y’all” in the South, “you betcha” in the Midwest, and “wicked” in the New England area. Each of these expressions is unique to its respective region and not commonly used outside those areas. In the United Kingdom, colloquial language often varies significantly even within the same country. For example, someone in London might refer to a friend as “mate,” while someone from Scotland might use “pal” or “chum.” These differences in colloquialisms give a sense of identity and belonging to the people of each region. Here are some examples of colloquial expressions from different countries and cultures: |Colloquial Expression||Place of Origin||Meaning| |wee||Scotland||small / little| |chuffed||United Kingdom||pleased / satisfied| |toque||Canada||knitted cap / beanie| Note that colloquial expressions may be subject to change over time due to various factors like globalization, internet communication, and cultural exchange. This dynamic nature of colloquial language makes it an important and fascinating aspect of linguistic studies. Usage of Colloquialisms Colloquialisms are informal expressions or phrases which are often used in everyday communication. They can be found in various contexts, such as conversations, writing, media, and songs. Colloquialisms are most commonly used in casual conversations, as they help to convey a familiar and friendly tone. These expressions can vary depending on the speaker’s geographical location or cultural background. Some examples include: |What’s up?||How are you?| |My bad||My mistake / I apologize| Although colloquialisms are used more frequently in speech, they can still be found in writing, particularly in informal contexts such as personal letters, emails, text messages, or social media posts. These expressions can create a more casual and relatable tone. Examples include: |LOL||Laughing out loud (expressing amusement)||“That video you shared was hilarious, LOL!”| |DM||Direct message||“Can you DM me the details of the party?”| |TL;DR||Too long; didn’t read (summarizing lengthy content)||“TL;DR: The article discusses the pros and cons of remote work.”| |IRL||In real life (refers to offline experiences)||“I’m excited to meet my online friends IRL next month.”| |ICYMI||In case you missed it||“ICYMI, here’s the link to the article I mentioned earlier.”| |FOMO||Fear of missing out||“I’m stuck at work, but I have major FOMO about the concert tonight.”| |TBT||Throwback Thursday (sharing nostalgic content)||“TBT to our amazing trip to Hawaii last year!”| Colloquialisms are often used in media, such as television shows, movies, and advertisements, to make the content more relatable and engaging for the audience. By using familiar phrases, the viewers or listeners can better understand and connect with the characters or situations being portrayed. Examples of colloquialisms in media might be: |Binge-watch||To watch multiple episodes of a TV show in succession||“This weekend, I’m going to binge-watch the new season of my favorite series.”| |Chick flick||A movie that appeals primarily to a female audience, often focusing on romance||“Let’s have a girls’ night and watch a classic chick flick.”| |Blockbuster||A highly successful movie or film||“The latest superhero movie is expected to be a summer blockbuster.”| |Cliffhanger||An ending that leaves the audience in suspense||“The season finale ended on a cliffhanger; now I can’t wait for the next season!”| |Spoiler alert||A warning that a crucial plot detail is about to be revealed||“Spoiler alert: The protagonist’s best friend is the real villain.”| |Primetime||The time when television or radio programs have the most viewers or listeners, typically in the evening||“The new drama series will air during prime time to attract a wider audience.”| |Going viral||Becoming extremely popular and widely shared on the internet in a short period||“The video of the dancing cat quickly went viral, amassing millions of views.”| |Meme||An image, video, or phrase, often humorous, that is spread widely on the internet||“The latest meme features a dog wearing sunglasses and the caption ‘Deal with it.'”| Many songwriters use colloquialisms in their lyrics to create a more informal and relatable tone, often reflecting the themes and emotions they are trying to convey. This can help listeners connect with the message of the song on a deeper level. Examples of colloquial expressions in songs may include: |Colloquial Expression||Meaning||Example in a Song| |Gimme||give me||“Gimme! Gimme! Gimme! (A Man After Midnight)” by ABBA| |Kinda||kind of||“She’s Kinda Hot” by 5 Seconds of Summer| |Ya||you||“Ya Hey” by Vampire Weekend| |C’mon||come on (expression of encouragement)||“C’mon Everybody” by Eddie Cochran| |Whatcha||what are you||“Whatcha Say” by Jason Derulo| |Lemme||let me||“Lemme Get That” by Rihanna| |Dunno||don’t know||“Dunno” by Mac Miller| |Bout||about||“Something ‘Bout Love” by David Archuleta| Examples of Colloquialisms In this section, we will explore various types of colloquialisms in English language through distinct categories such as common phrases, colloquial metaphors, pop culture references, and advertising and marketing. These examples help demonstrate how colloquial language is employed in everyday speech and writing. These are everyday expressions or sayings that are informal and often specific to certain regions or groups of people. Some examples include: |What’s the big deal?||What is the problem or issue?||“So, he was late to the meeting. What’s the big deal?”| |Cut to the chase||get to the point / skip unnecessary details||“We don’t have much time, so let’s cut to the chase.”| |Hit the road||to leave / to start a journey||“We should hit the road early to avoid traffic.”| |Down to the wire||at the last minute / with very little time to spare||“The game went down to the wire before the final shot determined the winner.”| |Go the extra mile||to put in extra effort / to do more than required||“She always goes the extra mile for her clients, making sure they’re satisfied.”| |In the same boat||in a similar situation / facing the same challenges||“We’re all in the same boat; we need to work together to find a solution.”| |Keep your chin up||stay positive / remain hopeful||“I know it’s tough, but keep your chin up. Things will get better.”| |On the same page||having the same understanding / agreeing on something||“Before we move forward, let’s make sure we’re all on the same page.”| Colloquial metaphors are informal and imaginative ways to describe something, often employing exaggeration or humor. Here are a few examples: |Raining cats and dogs||raining heavily||“I forgot my umbrella, and it’s raining cats and dogs outside.”| |Bite the bullet||to face a difficult or unpleasant situation||“I don’t want to confront her, but I need to bite the bullet and tell her the truth.”| |The ball is in your court||it’s your decision / it’s your responsibility now||“I’ve given you my opinion; now, the ball is in your court.”| |Break the ice||to initiate a conversation / to ease social tension||“I’ll tell a joke to break the ice before starting the presentation.”| |Burn your bridges||to destroy a relationship or opportunity||“Don’t burn your bridges with your old employer; you never know when you might need their help.”| |Bury the hatchet||to make peace / to put past conflicts behind||“It’s time to bury the hatchet and move forward as a team.”| |Throw someone under the bus||to betray someone / to make someone take the blame||“I know it’s tough, but keep your chin up. Things will get better.”| |Put all your eggs in one basket||to rely on one option / to risk everything on a single opportunity||“Don’t put all your eggs in one basket; apply for multiple jobs to increase your chances.”| Pop Culture References Pop culture references are colloquial expressions that originate from movies, TV shows, music, and other popular culture sources. Some examples are: |May the Force be with you (From Star Wars)||good luck / best wishes||Fans often use this phrase to wish each other well or to express support.| |Bazinga! (popularized by Sheldon Cooper on The Big Bang Theory)||gotcha! / burn!||When someone pulls a prank or makes a clever joke, they might say “Bazinga!” to emphasize the humor.| |Netflix and chill||to watch Netflix and relax (often with romantic or sexual connotations)||“We don’t have any plans tonight, so we might just Netflix and chill.”| |On fleek||perfect / on point (popularized on social media and used to describe appearances, particularly eyebrows)||“Your outfit is on fleek today!”| |Squad goals||aspirational friendship goals (often used to describe a close-knit group of friends)||“Did you see their vacation photos? Total squad goals.”| |Ship||to support a romantic relationship between two characters or people (derived from the word “relationship”)||“I ship those two so much. They’d make a perfect couple.”| |Slay||to excel / to succeed greatly (popularized in various contexts, including fashion, performances, and achievements)||“Her performance last night was incredible. She slayed!”| |That’s what she said (popularized by Michael Scott on The Office)||a double entendre implying sexual innuendo||“I can’t believe it’s so big!” “That’s what she said.”| Advertising and Marketing In advertising and marketing, colloquial language is often used to create catchy slogans or phrases for products and services. For instance: |Got milk?||A popular ad campaign by the California Milk Processor Board encouraging milk consumption||This slogan uses a colloquial question to make the advertisement more memorable and relatable.| |Just do it||Nike’s iconic slogan encouraging customers to take action||The informal language of this slogan creates a sense of empowerment and motivation.| |I’m lovin’ it||McDonald’s famous tagline expressing enjoyment of their food||Using a colloquial verb form (“lovin'” instead of “loving”) makes the tagline more catchy and approachable.| |Finger-lickin’ good||KFC’s slogan describing their chicken as delicious and irresistible||The colloquial phrase “finger-lickin'” adds a playful and informal tone to the advertisement.| |Gotta catch ’em all||The Pokémon franchise’s slogan encourages players to collect all the Pokémon||The colloquial phrase “gotta” (meaning “got to”) creates a sense of urgency and excitement for players.| |Where’s the beef?||A popular ad campaign by Wendy’s, questioning the quality and quantity of competitors’ hamburgers||This colloquial question adds humor and informality to the advertisement, making it more memorable.| |Think different||Apple’s iconic slogan encouraging customers to embrace innovation and creativity||The grammatically incorrect, colloquial phrase “think different” adds emphasis and makes the slogan stand out.| |Because you’re worth it||L’Oréal’s famous tagline suggesting that their products are deserving of customers’ investment||The informal, conversational tone of this tagline creates a personal connection with consumers.| These examples illustrate how colloquialisms pervade various aspects of our language, making communication more relatable, engaging, and expressive. Advantages and Disadvantages of Using Colloquialisms Colloquialisms can bring a sense of comfort and familiarity to conversations, as they often represent a shared understanding of informal language among speakers. This can help to create a warm, engaging atmosphere in communication. For example, the colloquialism “break a leg” is a lighthearted, informal way to wish someone good luck in their performance. Using colloquial language can also provide a more accurate representation of a character’s voice, thoughts, or background in storytelling. This can make dialogue feel more authentic and relatable. An example of a colloquial expression in storytelling might be, “He was grinning from ear to ear.” This paints a vivid image in the reader’s mind, effectively conveying the character’s happiness. Despite the benefits of using colloquial language, there are some drawbacks to consider. In some cases, colloquialisms may be difficult for non-native speakers or those less familiar with the informal language to understand. For instance, the colloquial phrase “raining cats and dogs” might be confusing to someone who has never encountered it before. Overusing colloquial expressions can be perceived as unprofessional or inappropriate in certain settings, such as formal writing or business communication. For example, saying “I’m gonna hit the hay” instead of “I’m going to sleep” might appear too casual in a professional context. Colloquial expressions can sometimes vary across regions or cultures, which can lead to misunderstandings if a phrase is not universally recognized. For example, the colloquialism “bless your cotton socks” may be well known in certain parts of the UK but unfamiliar to those from other English-speaking countries. Significance of Colloquialism Colloquialisms add color and personality to a language, making it feel more relatable and familiar to native speakers. These expressions also convey the culture and customs of a particular region or group of people. Understanding colloquial language can be a crucial part of learning any new language. It allows learners to connect with native speakers and gain a deeper understanding of the nuances of the language. It also helps the language feel more natural and less formal, making it more enjoyable to learn and speak. Colloquialisms can play a significant role in effective communication, as they often express ideas and emotions more concisely and vividly than formal language. They can also help establish rapport and trust between the speaker and listener, further enhancing the overall communication experience. In Everyday Life Colloquial language is an integral part of everyday life, as it helps people express themselves more easily and naturally. It also makes communication faster, more efficient, and more engaging. Authors often use colloquial language in their works to create authentic dialogue and characters, making the story more engaging and relatable for readers. Colloquialisms can contribute to the development of a character’s voice and provide insight into their background and culture. Classic examples include the colloquial language used by Mark Twain in “The Adventures of Huckleberry Finn” and Harper Lee’s use of southern dialect in “To Kill a Mockingbird.” Difference Between Colloquialism, Slang, and Jargon Colloquialism, slang, and jargon are all informal language expressions, but they have different characteristics and are used in different contexts. Understanding the distinctions between these three linguistic features can help avoid confusion and improve communication. Colloquialism refers to informal expressions that are specific to a particular region, social group, or culture. These phrases are generally understood by native speakers but may not be familiar to those who are not part of the respective community. Slang is characterized by its informality and is often used by specific social groups to distinguish themselves or convey membership. Slang terms can become outdated quickly, and new terms continually emerge. Jargon is a specialized language used by professionals, experts, or those with specific knowledge within a field. It is often employed to communicate information efficiently and precisely, but it can be challenging for outsiders to comprehend. Frequently Asked Questions Does generation gap affect Colloquialism? Yes, generation gaps can affect colloquialism. Language and expressions often change over time, and different generations might have unique colloquialisms that the others may not understand. This can create misunderstandings or confusion between generations when they communicate. Here are some examples of colloquialisms unique to specific generations: Baby boomers: “Far out” (meaning impressive or amazing) Generation X: “As if” (meaning disbelief or sarcasm) Millennials: “On fleek” (meaning perfectly done or styled) Generation Z: “Lit” (meaning exciting or amazing) It’s important to recognize that these examples are not absolute, and individuals from one generation might still understand and use phrases from another generation. However, such discrepancies in language can contribute to the perceived generation gap. Are colloquialisms considered improper language? Colloquialisms are not inherently improper; they are simply informal expressions that reflect the culture and history of a specific region or group. However, it’s essential to use them judiciously and be mindful of the context in which they are used. Colloquialisms may not be appropriate in formal writing or professional settings, but they can add color and authenticity to casual conversations. How do colloquialisms contribute to linguistic diversity? Colloquialisms contribute to linguistic diversity by reflecting the unique characteristics, history, and culture of different regions and communities. These expressions serve as linguistic markers, highlighting variations in vocabulary, grammar, and pronunciation within a language. By enriching language with local flavor and context, colloquialisms celebrate the dynamic nature of human communication and demonstrate the wide range of ways people express themselves across the globe. Colloquialisms are informal expressions unique to specific regions, communities, or social groups, enriching language with cultural and historical context. While they can add color and familiarity to speech, they may be challenging for non-native speakers to understand. Recognizing and appreciating colloquialisms helps deepen one’s linguistic knowledge and fosters a sense of belonging within a community. By using them judiciously, we can create engaging and authentic communication that bridges linguistic gaps and celebrates the diversity of human expression. We are sorry that this post was not useful for you! Let us improve this post! Tell us how we can improve this post?

<urn:uuid:5dd40b71-1a89-46ef-a0dc-c5d736887d76>

CC-MAIN-2023-40

https://enlightio.com/colloquialism-definition-examples

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506329.15/warc/CC-MAIN-20230922034112-20230922064112-00579.warc.gz

en

You are invited to download the spring and summer picture cards for sorting with ten types of insects and ten types of flowers – learning printables for preschool and kindergarten children. Use this resource with photographs to create hands-on spring and summer activities for your students. I’ve always been fascinated by insects. There are so many different kinds, each with its own unique characteristics and behaviors. Some are beautiful, like the butterflies and dragonflies, while others are a bit creepy, like spiders and centipedes. But no matter how you feel about them, there’s no denying that insects play an important role in our ecosystem. They pollinate plants, help break down dead matter, and provide food for other animals. And while some insects can be pests, most are harmless and even beneficial. I absolutely love spring flowers! There’s something so magical about watching the world come to life after a long, cold winter. I especially enjoy seeing all of the different types of flowers that bloom during this time of year. From daffodils and tulips to cherry blossoms and hyacinths, each flower is unique and beautiful in its own way. I also love how the vibrant colors of spring flowers can instantly brighten up any space. Flowers Hands-on Activities - Flower dissection: Children can explore the different parts of a flower by dissecting one. They can learn about the different functions of each part like petals, sepals, stamen, and pistil. - Flower matching game: This activity involves matching different types of flowers to their names and characteristics. It can help children learn about the different colors, shapes, and sizes of flowers. - Flower color wheel: Children can make a color wheel using different colored flowers. They can learn about primary colors, secondary colors, and complementary colors. - A large piece of white paper or poster board - Different colored flowers such as daisies, roses, and pansies - Cut out a circle from the center of the white paper or poster board using scissors. This will be the base of your color wheel. - Divide the circle into six equal sections using a pencil and a ruler. These sections will represent the six main colors of the color wheel – red, orange, yellow, green, blue, and purple. - Start with the primary colors – red, yellow, and blue. Choose flowers that represent these colors and glue them onto the corresponding sections on the circle. For example, use red roses for the red section, yellow daisies for the yellow section, and blue pansies for the blue section. - Next, move on to the secondary colors – orange, green, and purple. These colors are created by mixing two primary colors together. Use flowers that represent these colors and glue them onto the corresponding sections on the circle. For example, use orange marigolds for the orange section (mixed red and yellow), green carnations for the green section (mixed yellow and blue), and purple irises for the purple section (mixed red and blue). - Finally, add complementary colors to the color wheel. These are colors that are opposite each other on the color wheel and often look good together. For example, red and green, blue and orange, and yellow and purple. Choose flowers in these colors and glue them onto opposite sides of the color wheel. For example, use red roses and green carnations on opposite sides of the circle. - Once all the flowers are glued onto the color wheel, allow it to dry completely. Then, display the color wheel for children to see. You can use this as a teaching tool to help children learn about primary colors, secondary colors, and complementary colors. - Smelling flowers: Children can be introduced to different scents by smelling different flowers. They can also learn about pollination and the role of flowers in helping bees and other insects. - Pressed flower art: Children can press flowers and make art using them. This activity can help them learn about the properties of flowers and how they change when pressed. - Growing flowers: Children can plant seeds and observe the growth of flowers. They can learn about the different stages of a plant’s life cycle and how to care for plants. - Flower petal counting: Children can count the petals on different flowers. This activity can help them with early math skills like counting and number recognition. - Flower color sorting: Children can sort flowers by color. This activity can help them learn about categorization and color recognition. - Flower sensory bin: Children can explore flowers using a sensory bin filled with flower petals, stems, and leaves. This activity can help them with sensory development and exploration. - Flower nature walk: Children can take a walk in nature and observe different flowers. They can learn about the different types of flowers that grow in their environment and their role in the ecosystem. - Flower arranging: Children can practice their fine motor skills by arranging flowers in a vase or pot. This activity can also help them learn about the different shapes and sizes of flowers. - Paper flower-making: Children can make paper flowers using different colors and shapes of paper. This activity can help them with creativity and motor skills. - Flower counting and graphing: Children can count the number of different flowers they see on a nature walk. They can then use this data to make a graph and analyze the results. - Flower tag: Children can play a game of tag where one child is “it” and chases other children who pretend to be different types of flowers. This activity can help them learn about different types of flowers and their characteristics. - Flower symmetry activity: Children can use pieces of flower petals to create symmetric shapes. This activity can help them learn about symmetry and patterns. - Flower measurement: Children can measure the height of different flowers using a ruler or a measuring tape. This activity can help them with early math skills like measuring and estimating. - Flower storytelling: Children can create a story about a flower’s life cycle, starting from a seedling to a fully grown flower. This activity can help them with language development and storytelling. - Flower scavenger hunt: Children can go on a scavenger hunt to find different types of flowers in their environment. This activity can help them with observational skills and learning about their surroundings. - Flower sensory bottle: Children can create a sensory bottle using flower petals, water, and glitter. This activity can help them with sensory exploration and observation skills. - Flower color mixing: Children can mix different colored flowers to create new hues. This activity can help them learn about color theory and mixing. - Make insects and flowers using playdough to point out the difference between the two types of living things. - Gather binoculars next time you go outdoors and invite the children to observe different types of flowers and crawling creatures. - Gather Safari TOOB figurines and invite the children to sort them into two groups. - Explore the most commonly found insects and flowers found in your area – make a poster with your students. - Discuss in a small group all the different ways children can protect animals and plants in their natural habitat. Insect hands-on activities - Observing and classifying insects: Collect different types of insects and place them in a magnifying jar. Have the children observe and describe the insects using a magnifying glass. Encourage them to categorize the insects based on their characteristics such as wings, legs, color, and size. - Insect life cycle: Teach preschoolers about the life cycle of insects. Start by introducing them to the concept of metamorphosis. Show them pictures or real examples of different insect life cycles, such as butterflies, ants, or ladybugs. Provide materials for the children to create their own life cycle charts or dioramas. - Insect anatomy matching: Create small cards or pictures of different insect body parts (e.g., head, thorax, abdomen, antenna, legs, etc.). Provide the preschoolers with insect models or pictures and have them match the body parts to the corresponding images. - DIY insect habitat: Set up a small terrarium or bug box for the preschoolers to observe insects up close. Use natural materials like soil, leaves, rocks, and twigs. Encourage the children to find insects and place them in the habitat temporarily. Discuss the insects’ needs for food, water, and shelter. Find a suitable container: Look for a small plastic or glass container, such as a jar or a small plastic terrarium, that has a lid or a screen top with holes for ventilation. Add a layer of soil: Place a layer of soil at the bottom of the container. You can use potting soil or collect some soil from the yard or park. Add natural materials: Add natural materials like leaves, rocks, and twigs. These materials will provide shelter, hiding places, and climbing surfaces for the insects. Add water: Add a small amount of water to the soil. Be careful not to add too much, as this could make the habitat too damp and unhealthy for the insects. Find insects: Encourage the preschoolers to find insects in the yard or park and place them in the habitat. Make sure the children handle the insects gently and don’t harm them. Observe the insects: Have the children observe and describe the insects they find. Discuss the insects’ needs for food, water, and shelter, and how they use the natural materials in the habitat to survive. Release the insects: After a short period of observation, release the insects back into their natural habitat. Remind the children to always handle insects with care and respect. By setting up a small terrarium or bug box and observing insects up close, preschoolers can learn about the natural world around them and develop an appreciation for the beauty and diversity of insects. Choose safe insects: Make sure the insects you choose are safe for the children to handle and observe. Avoid insects that may sting, bite, or carry diseases. Provide food: Some insects may require specific food to survive. For example, ladybugs feed on aphids. Research what insects you plan to observe and provide appropriate food sources. Use a magnifying glass: Provide a magnifying glass for the children to use to observe the insects up close. This will help them see details they may not have noticed otherwise. Keep the habitat clean: Regularly clean the habitat to prevent mold or bacteria from growing. Replace the soil and natural materials as needed. Setting up a small terrarium or bug box is a fun and educational activity for preschoolers. It allows them to observe insects up close, learn about their needs, and develop an understanding of the natural world around them. - Bug hunt: Take the preschoolers on an outdoor bug hunt to collect insects in a safe and supervised environment. Provide them with magnifying glasses or bug catchers. After the bug hunt, discuss the children’s findings, and encourage them to reflect on the types of insects they found and why they might be present in certain habitats. - Insect sensory exploration: Set up different sensory stations related to insects. For example, you could create a touch-and-feel station with different textures mimicking insects’ wings or body parts. Another station could have scented items related to insects’ favorite flowers or foods. Encourage the children to explore and discuss their sensory experiences. - Insect-themed art: Provide art materials such as paints, crayons, paper, and glue. Invite the preschoolers to create insect-inspired artwork. They could draw or paint their favorite insects or create collages using pictures of insects from magazines. - Insect-inspired gardening: Incorporate insects into gardening activities by planting flowers that attract butterflies or creating a butterfly garden. Discuss the role of insects as pollinators and their importance in the ecosystem. Remember to always prioritize the safety and well-being of the children during these activities, and ensure proper supervision when handling live insects. Flowers and Insects Soring Printable This resource will come in handy if you are planning to explore meadow habitat in your Montessori and early childhood classroom. Print on card stock and laminate for longer use. After cutting cards, draw with a marker or stick dot stickers to the back of each set – one color for each set. Place the label cards in a row. Explain the difference between the two types of living things. Invite the child to sort cards into two categories. After the child completed the task, invite him or her to flip the cards and self-check. Each card has to be under the correct category based on the dot color. Young children can be encouraged to match the cards when printed twice and draw the insects and flowers they like the most using their choice of art medium. Older children might be inspired to research and create their own books about wildflowers and insects native to your area. Free Printables Designed by Montessori Nature - Free Resource Library - Singular And Plural Nouns: Montessori Free Sorting Printable For Teaching Kids The Difference - Boost Your Students Literacy Skills With Fun And Creative Cards Featuring Compound Words - Animals and Their Homes Free Printable - Geoboard Task Cards Free Math Summer Printable - Signs Of Summer In Nature Free Printables Posters Student Booklets - Get Sorting With These Free Fall-Themed Printable Activities For Kids – Made By Humans And Made By Nature Sort - All About Me Printable Freebie - Signs of Spring in Nature - Parts of a Plant Sorting - Birthday Timeline Printable - Animals of Continents Sort Editable Labels - Fall Into Learning Fun With Autumn-Themed Geoboard Cards Free Printable For Kids - Letter A Student Activity Page Phonics Free Language Printable - Letter D Student Activity Page Phonics Free Language Printable - Letter E Student Activity Page Phonics Free Language Printable - Letter F Student Activity Page Phonics Free Language Printable - Letter G Student Activity Page Phonics Free Language Printable - Letter B Student Activity Page Phonics Free Language Printable - Letter C Student Activity Page Phonics Free Language Printable - Letter H Student Activity Page Phonics Free Language Printable - Letter i Student Activity Page Phonics Free Language Printable - Letter J Student Activity Page Phonics Free Language Printable - Letter K Student Activity Page Phonics Free Language Printable - Letter L Student Activity Page Phonics Free Language Printable - Letter M Student Activity Page Phonics Free Language Printable - Letter N Student Activity Page Phonics Free Language Printable - Letter O Student Activity Page Phonics Free Language Printable - Letter P Student Activity Page Phonics Free Language Printable - Letter Q Student Activity Page Phonics Free Language Printable - Letter R Student Activity Page Phonics Free Language Printable - Letter S Student Activity Page Phonics Free Language Printable - Letter U Student Activity Page Phonics Free Language Printable - Letter T Student Activity Page Phonics Free Language Printable - Letter W Student Activity Page Phonics Free Language Printable - Letter V Student Activity Page Phonics Free Language Printable - Letter Y Student Activity Page Phonics Free Language Printable - Letter X Student Activity Page Phonics Free Language Printable - Letter Z Student Activity Page Phonics Free Language Printable - Double Letters CH Digraph Student Activity Page Phonics Free Language Printable - Double Letters SH Digraph Student Activity Page Phonics Free Language Printable - Double Letters Th Digraph Student Activity Page Phonics Language Printable - Double Letters ‘OO’ Vowel Digraph - ‘ER’ Digraph Student Activity Page Phonics Language Printable - ‘OR’ Digraph Student Activity Page Phonics Language Printable - Double Letters ‘EE’ Vowel Digraph Student Activity Page Phonics Language Printable - Double Letters ‘NG’ Digraph Student Activity Page Phonics Free Language Printable - Made By Nature Made By Humans Sorting - My Word Of The Year New Year Free Printable - Physical And Chemical Changes Pairing Fine Motor With Pegs - Christmas Playdough Mats - Christmas 3 Part Cards - Christmas Matching Fine Motor With Pegs - 10 Deciduous Trees And 10 Coniferous Trees Sorting Cards - Fall Playdough Mats - Christmas in Australia - Free DIY Art Puzzles Coloring Pages Printables – Silent Night by Viggo Johansen - Signs of Winter - Matching Fine Motor With Pegs The Nutcracker Free Christmas printable - Free DIY Puzzles And Coloring Pages – Raphael The Sistine Madonna - Fall Leaf Shapes Match Up With Pegs - Animal Hibernation & Torpor Cards - 10 Farm Cards And 10 Forest Sorting Cards - Pairing Fine Motor With Pegs – Thankful Animals - Types Of Apples - Fall Prewriting Practice – Free Fine Motor Printable - Free DIY Puzzles And Coloring Pages – Paul Cezanne Still Life Painting Curtain, Jug And Fruit Bowl - Fall Pin Punching And Tracing Cards - Fall Match Up Initial Sounds With Pegs - Fall Match Up Rhyming Words With Pegs - Fall Leaves And Fall Flowers - Fall Match Up Opposites With Pegs - 10 Types Of Vertebrates And 10 Types Of Invertebrates Fall Printable - 10 Types of Insects and 10 Types of Flowers Sort - Fall Match Up With Pegs - Types Of Exotic Apples 3-Part Cards, Posters, Student Booklet - 10 Types Of Edible And 10 Types Of Poisonous Mushrooms - Signs Of Fall – Free Printables, Posters, Cards, Student Booklets - Woodland Animals Poster Match Up Cards - 10 Types Of Mammals And 10 Types Of Birds In Autumn - Color, Cut Out, Build, And Label The Ant - Color, Cut Out, Build, And Label The Fish - Gemstones 3 Part Cards - Wild Animal Families Puzzles And Cards - Forest Matching Cards – Free Nature Printable - Beach Poster, Match Up Cards – Free Printables - Whale Size Comparison Poster, Match Up Cards - DIY Puzzles And Coloring Pages – Vincent Van Gogh Vase With Twelve Sunflowers - 10 Types Of Vertebrates And 10 Types Of Invertebrates - Coral Reef Animals Poster, Match Up Cards - 10 Types Of Terrestrial Mammals And 10 Types Of Marine Mammals – Free Summer Printable - 10 Types Of Butterflies And 10 Types Of Ladybugs – Free Sorting Printable - Skip Counting Student Helper Posters And Worksheets s - Number Tracing And Formation Activity - Sums With Bead Bars – Clip Cards And Worksheets With Teen Numbers - Addition Clip Cards - Number Bonds – Addition With Bead Bars Sums Of 5, 6, 7, 8, 9, And 10 - Place Value Mats, Task Cards, And Tracing Worksheets - Gemstones – Posters And Matching Cards - Nature Journal - Valentine’s Day Coloring - Geoboard Task Cards - Free One Week Planner For Preschool Children With Low Prep Hands-On Activities - Free Montessori Baby And Toddler Printable Materials - DIY Winter Puzzles And Art Activities – Painting “The Starry Night” By Vincent Van Gogh - Winter Animals - Arctic Animals - DIY Winter Puzzles And Art Activities – Painting “Maslenitsa” By Boris Kustodiev - Butterflies And Moths Sort - Types Of Flowers Match Up - Silent E Learning To Read Cards - Addition And Subtraction Cards – Single Digits - Animals In Spring – Activities, Resources, And Free Printables - Multiplication Charts - Lined Writing Paper Handwriting Practice - Nocturnal And Diurnal Animals Sort - Viviparous And Oviparous Animals Sort - Mothers And Their Young Animals Sort - Constellations And Planets Sort - Farm Animal Families Puzzles - The Earth Goes Around The Sun – Free Geography Printable - Tulip Life Cycle And Parts Of A Tulip - Doing Montessori At Home With Your Baby ( 7 – 9 Mo ) Free Printable Checklist

<urn:uuid:14b649d6-45bc-4658-aa96-d7705629b2b9>

CC-MAIN-2023-40

https://www.montessorinature.com/10-types-flowers-insects-spring-summer-sort-free-printable/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510319.87/warc/CC-MAIN-20230927171156-20230927201156-00580.warc.gz

en

Access a collection of 101 printable PDF worksheets focusing on the English grammar topic of the this that these those. Download fill-in-the-blank tests with exercises and answer keys for demonstrative pronouns (this/that/these/those) to print for free. The activities in the sheets are suitable for kids, adults, ESL learners at the beginner, elementary, and intermediate levels to practice English grammar. 1. Introduction to Demonstrative Pronouns In the vast landscape of English grammar, demonstrative pronouns play a vital role in helping us identify and specify objects in both spoken and written language. Demonstrative pronouns, which include "this," "that," "these," and "those," are indispensable tools for effective communication. In this comprehensive essay, we will explore the intricacies of demonstrative pronouns, examining their grammar, usage, and relevance in learning English. 2. Understanding Demonstrative Pronouns in English Demonstrative pronouns are a subset of pronouns, a category of words that replace nouns in sentences to avoid repetition and enhance clarity. Demonstrative pronouns serve a unique function: they point to or identify specific objects or groups of objects in the context of a conversation or text. In English, the primary demonstrative pronouns are "this," "that," "these," and "those." Unlike other pronouns like "he," "she," "it," "they," which refer to people or things without specifying their proximity or location, demonstrative pronouns provide precision by indicating whether the object is singular or plural and whether it is near or far from the speaker. 3. Demonstrative Pronouns vs. Demonstrative Adjectives Before diving into the role and usage of demonstrative pronouns, it's essential to distinguish them from demonstrative adjectives. Demonstrative pronouns stand alone and replace nouns, while demonstrative adjectives modify nouns by providing more information about them. Let's clarify the difference with examples: I want this. (Here, "this" replaces the noun, e.g., "book.") Those are mine. (Here, "those" replaces the noun, e.g., "shoes.") I want this book. (Here, "this" modifies the noun "book.") Those shoes are mine. (Here, "those" modifies the noun "shoes.") 4. The Role of Demonstrative Pronouns Demonstrative pronouns serve several crucial roles in English grammar: Pointing and Identifying: Demonstrative pronouns are used to point to or identify specific objects or groups of objects in a sentence or conversation. Replacing Nouns: They replace nouns to avoid repetition and make sentences more concise and clear. Indicating Proximity: Demonstrative pronouns help convey whether the object being referred to is near or far from the speaker. Enhancing Clarity: They add precision to sentences by specifying which object is being discussed. Providing Context: Demonstrative pronouns offer context by highlighting which items or ideas are currently relevant or under discussion. 5. Grammar and Usage of Demonstrative Pronouns Demonstrative pronouns in English come in four forms: "this," "that," "these," and "those." Each form corresponds to specific conditions regarding the number (singular or plural) and the proximity (near or far) of the object being referred to. Let's delve into the grammar and usage of each demonstrative pronoun: 6. This and That: Singular Demonstrative Pronouns "This" is used as a singular demonstrative pronoun to refer to a singular object or an idea that is nearby, either physically or in the discussion. This is my favorite book. Can you pass me this pen? I can't believe this happened. "That" is also a singular demonstrative pronoun, but it refers to a singular object or an idea that is farther away, either physically or in the discussion. That building is historic. Who owns that beautiful car? I heard that you're moving to a new city. 7. These and Those: Plural Demonstrative Pronouns "These" is the plural form of the demonstrative pronoun used to refer to multiple objects or ideas that are nearby, either physically or in the discussion. These are my keys. These books are on sale. I'm trying these new recipes for dinner tonight. "Those" is the plural demonstrative pronoun that refers to multiple objects or ideas that are farther away, either physically or in the discussion. Those birds are migrating south. Do you see those mountains in the distance? I remember those days from my childhood. 8. Demonstrative Pronouns for Singular Objects Using "this" and "that" effectively for singular objects depends on the proximity of the object and the context of the conversation or text. 9. Using "This" to Indicate Singular, Nearby Items: When you want to refer to a singular object that is close to you or the conversation, use "this." This cup of coffee is delicious. This movie is amazing. This question is challenging. 10. Using "That" to Indicate Singular, Distant Items: If the singular object you want to refer to is farther away, either physically or in the discussion, use "that." That mountain in the distance is breathtaking. That idea seems intriguing. I can't believe that happened so long ago. 11. Demonstrative Pronouns for Plural Objects For plural objects, "these" and "those" are used to specify whether the objects are near or far. 12. Using "These" to Indicate Plural, Nearby Items: When referring to multiple objects or ideas that are close to you or the discussion, use "these." These apples are fresh. These friends are supportive. These questions are interesting. 13. Using "Those" to Indicate Plural, Distant Items: If the plural objects or ideas are farther away, either physically or in the discussion, use "those." Those houses across the river are beautiful. Those concepts in the textbook are complex. I can't forget those memories from our trip. 14. Demonstrative Pronouns for Near Objects In everyday communication, demonstrative pronouns are frequently used to indicate objects or ideas that are physically or conceptually close to the speaker or the conversation. This helps streamline conversations and avoid unnecessary repetition. Examples of using demonstrative pronouns for near objects: Can you pass me this magazine? I appreciate this offer. Let's talk about this issue. These cookies taste delicious. This book is a great read. These students are very talented. 15. Demonstrative Pronouns for Distant Objects Conversely, demonstrative pronouns can also be employed to refer to objects or ideas that are physically or conceptually distant from the speaker or the discussion. This use provides context and clarity in various contexts. Examples of using demonstrative pronouns for distant objects: That country has a rich cultural heritage. I'm concerned about that problem. I can't believe that movie won an award. Those mountains in the distance are majestic. We should discuss those strategies. Using demonstrative pronouns in these ways helps convey a specific point of reference, making the conversation more precise and engaging. 16. Demonstrative Pronouns for Emphasis Demonstrative pronouns can be used to emphasize a particular object or idea in a sentence. By using "this," "that," "these," or "those" with the right tone and context, speakers can draw attention to what they consider most important or relevant. Examples of using demonstrative pronouns for emphasis: I said I wanted this dessert, not that one. This project is critical to our success. Those moments in life define who we are. These are the results we've been waiting for. That is the person I admire the most. In these sentences, the demonstrative pronouns "this," "that," "these," and "those" emphasize the specific objects or ideas they precede, underscoring their significance in the context. 17. Demonstrative Pronouns for Clarity Demonstrative pronouns are valuable tools for achieving clarity in communication. They help speakers and writers specify precisely which objects or ideas they are referring to, reducing ambiguity. Examples of using demonstrative pronouns for clarity: Please hand me that document on the left. These statistics show a significant increase. I'm interested in that particular theory. Can you explain those concepts in more detail? This map clearly marks the hiking trails. In these sentences, the demonstrative pronouns clarify the intended references, ensuring that the message is understood with precision. 18. Demonstrative Pronouns for Conciseness One of the primary functions of demonstrative pronouns is to promote conciseness in language. Instead of repeating nouns, demonstrative pronouns allow speakers and writers to convey their messages more succinctly. Examples of using demonstrative pronouns for conciseness: I'll take this, and you can have that. These are my keys; those are yours. This jacket is too small; I'll try that one. Those are my notes from the meeting. These are the documents you requested. In these sentences, the demonstrative pronouns "this," "that," "these," and "those" replace nouns, streamlining the language and making it more efficient. 19. Demonstrative Pronouns for Avoiding Repetition One of the primary reasons for using demonstrative pronouns is to avoid repetitive language. Instead of repeating nouns, speakers and writers can employ demonstrative pronouns to refer back to previously mentioned objects or ideas. Examples of using demonstrative pronouns to avoid repetition: I love this song; it's so catchy. These cookies are delicious; I can't stop eating them. That car is impressive; I saw it at the dealership. Those stories are captivating; I read them last night. This book is a classic; everyone should read it. In these sentences, the demonstrative pronouns prevent redundancy and maintain a more fluid and engaging narrative. 20. Demonstrative Pronouns for Specificity Demonstrative pronouns are crucial for providing specificity in language. They enable speakers and writers to pinpoint precise objects or ideas within a larger context, offering a richer and more detailed description. Examples of using demonstrative pronouns for specificity: This restaurant serves the best sushi in town. Those paintings in the museum are priceless. I appreciate this opportunity to learn. That conference was a valuable experience. These photos capture unforgettable moments. In these sentences, the demonstrative pronouns "this," "that," "these," and "those" specify particular objects or ideas, enhancing the depth of communication. 21. Demonstrative Pronouns in Everyday Conversations Demonstrative pronouns are a common and indispensable part of everyday conversations. Whether we're discussing objects, experiences, or ideas, these pronouns help us convey our thoughts with clarity and precision. Let's look at how demonstrative pronouns are used in everyday conversations: In a cafe: Customer: I'll have this coffee, please. Barista: That'll be $3.50. At a bookstore: Shopper: I'm looking for a mystery novel. Can you recommend this one? Bookseller: Of course! That's a popular choice. Discussing travel plans: Traveler: These brochures have information about the local attractions. Friend: I'm interested in that cultural festival. In a clothing store: Shopper: This dress is lovely. Do you have it in a smaller size? Salesperson: I'm sorry; we only have that one in this size. During a business meeting: Presenter: This slide highlights our financial performance. Participant: I'm curious about that marketing strategy. Demonstrative pronouns help participants in these conversations specify the objects or ideas they are referring to, facilitating effective communication. 22. Demonstrative Pronouns in Written Language In written language, demonstrative pronouns serve various purposes, including providing clarity, avoiding redundancy, and enhancing conciseness. Writers use them to maintain the flow of their narratives and prevent overuse of specific nouns. Examples of demonstrative pronouns in written language: In a formal report: "This report examines the impact of climate change on coastal regions." "That study by Smith et al. provides valuable insights." In a descriptive essay: "The sunset cast a warm, orange glow over the mountains. These were the moments she cherished." "The old library had a unique charm, with its creaky wooden floors and antique furniture. That was where he spent most of his afternoons." In a research paper: "This phenomenon has been widely studied in recent years." "Those experiments yielded significant results." In a news article: "This incident occurred in a quiet suburban neighborhood." "That event shook the community." 23. Demonstrative Pronouns in Formal Speech In formal speeches, whether in academic presentations, business conferences, or public addresses, demonstrative pronouns are used to maintain clarity and emphasize key points. They allow speakers to refer to specific ideas or objects without repetition. Examples of demonstrative pronouns in formal speech: In an academic lecture: "This theory, proposed by renowned scientist Jane Smith, has revolutionized our understanding of the cosmos." "Those experiments conducted by our research team demonstrate the potential for groundbreaking discoveries." During a business presentation: "This product offers unparalleled benefits to our customers." "That strategy has proven successful in previous market expansions." In a diplomatic speech: "This agreement signifies a historic step toward peace in the region." "Those negotiations required dedication and compromise." 24. Demonstrative Pronouns in Informal Speech Even in informal conversations, demonstrative pronouns play a crucial role in conveying thoughts clearly and efficiently. They are used to point out specific items, share opinions, or reference recent experiences. Examples of demonstrative pronouns in informal speech: At a family gathering: Family Member 1: These appetizers are delicious! Family Member 2: I made those desserts. During a casual chat with friends: Friend 1: This movie we watched last night was hilarious! Friend 2: I agree, but I prefer that one we saw last week. Discussing recent events: Person 1: This weekend was so much fun! Person 2: I know, I enjoyed those activities we did together. 25. Demonstrative Pronouns in Descriptive Writing In descriptive writing, such as novels, short stories, or travel blogs, demonstrative pronouns help authors create vivid and engaging descriptions. They allow writers to point out specific elements in the narrative, providing readers with a clear mental image of the setting, characters, or objects. Examples of demonstrative pronouns in descriptive writing: In a novel: "She walked along the beach, feeling the sand between her toes. This was her favorite place to escape from the world." "He gazed at the stars in the night sky. Those tiny dots of light held the secrets of the universe." In a travel blog: "The ancient ruins of Machu Picchu were shrouded in mist. This was a surreal experience." "We hiked through dense forests, the sounds of birds filling the air. Those moments felt truly magical." In a short story: "The old house had a mysterious aura. This was where the adventure began." "They explored the cave's depths, their flashlights revealing hidden treasures. Those discoveries left them in awe." 26. Demonstrative Pronouns for Expressing Preference Demonstrative pronouns are often used to express preferences or opinions about specific items or ideas. By using "this," "that," "these," or "those," speakers can indicate their likes and dislikes in a concise manner. Examples of using demonstrative pronouns to express preference: In a restaurant: Customer: This dish is excellent; I'll have it again. Friend: I prefer that one; it's spicier. Shopper: These shoes are comfortable; I'll buy them. Salesperson: Those sneakers are on sale; they're a great choice. Choosing a movie: Moviegoer: This film has great reviews; let's watch it. Friend: I heard that one is a classic; I'm in the mood for a classic movie. 27. Demonstrative Pronouns for Highlighting Differences Demonstrative pronouns can also be used to highlight differences between objects, ideas, or experiences. By contrasting "this" with "that," or "these" with "those," speakers draw attention to distinctions. Examples of using demonstrative pronouns to highlight differences: Tech Enthusiast: This phone has a better camera, but that one has a longer battery life. Friend: I like those features on this model. Evaluating job offers: Job Seeker: This position offers higher pay, but that one has more flexible hours. Advisor: These benefits are better than those in the previous offer. Discussing travel destinations: Traveler: This city has rich history, while that one is known for its vibrant nightlife. Companion: I'm more interested in those cultural experiences. 28. Demonstrative Pronouns for Showing Similarities Demonstrative pronouns can also be employed to show similarities between objects, ideas, or experiences. By using "this" and "that," or "these" and "those," speakers can point out commonalities. Examples of using demonstrative pronouns to show similarities: Car Enthusiast: This model has great fuel efficiency, and that one is spacious. Friend: I like those features in this car. Evaluating job candidates: Recruiter: This candidate has strong leadership skills, and that one is an excellent communicator. Manager: I'm impressed by those qualities in this applicant. Discussing travel experiences: Traveler: This country has beautiful beaches, and that one has stunning mountain ranges. Companion: I enjoyed those landscapes in this region. 29. Demonstrative Pronouns for Comparing Ideas Demonstrative pronouns are useful when comparing different ideas, concepts, or arguments in writing or conversation. They help speakers and writers specify which idea they are discussing without the need for repetition. Examples of using demonstrative pronouns to compare ideas: In an academic discussion: Professor: This theory suggests that human behavior is influenced by environmental factors. Student: I find those findings intriguing. During a debate: Speaker 1: This proposal focuses on economic growth. Speaker 2: That approach prioritizes environmental sustainability. In a business meeting: Team Lead: This strategy emphasizes customer satisfaction. Colleague: Those recommendations align with our long-term goals. 30. Common Mistakes with Demonstrative Pronouns While demonstrative pronouns are a fundamental part of English grammar, they are not immune to common mistakes. Here are some errors that learners and speakers should watch out for: Incorrect Number Agreement: Demonstrative pronouns must agree in number with the noun they replace. Using "this" with a plural noun or "these" with a singular noun is incorrect. Incorrect: This dogs are friendly. Correct: These dogs are friendly. Misuse of "This" and "That": Using "this" and "that" interchangeably without considering proximity can lead to confusion. Incorrect: I want to buy that dress; it's beautiful. (If the dress is nearby) Correct: I want to buy this dress; it's beautiful. Ambiguity in Context: Failing to provide sufficient context when using demonstrative pronouns can leave listeners or readers uncertain about what is being referred to. Ambiguous: I need to finish this by tomorrow. (What is "this"?) Clearer: I need to finish this report by tomorrow. Overusing Demonstrative Pronouns: Excessive use of demonstrative pronouns can make speech or writing repetitive. It's essential to balance their usage with other pronouns and nouns. Overused: I love this movie. This actor is fantastic. This director is talented. (Repetitive) Varied: I love this movie. The actor is fantastic. The director is talented. Confusing Demonstrative Pronouns with Demonstrative Adjectives: Mixing up demonstrative pronouns and demonstrative adjectives can lead to grammatical errors. Incorrect: I like this apples. (Using "this" as an adjective) Correct: I like these apples. Lack of Agreement with Verb Tense: Demonstrative pronouns should agree with the noun they replace, both in number and in verb agreement. Incorrect: This is the dogs' favorite toy. Correct: This is the dogs' favorite toys. 31. Teaching Demonstrative Pronouns to English Learners To effectively teach demonstrative pronouns to English learners, educators and learners can follow strategic approaches: Visual Aids: Use visual aids such as images, diagrams, or physical objects to demonstrate the concepts of proximity and number agreement. Real-Life Examples: Provide real-life examples and scenarios that illustrate the use of demonstrative pronouns, making the grammar more relatable. Practice Exercises: Engage learners in exercises that involve forming sentences using demonstrative pronouns. These can be written or spoken exercises to reinforce understanding. Contextual Learning: Encourage learners to use demonstrative pronouns in context. For example, ask them to describe objects in the classroom using the appropriate pronouns. Storytelling: Create stories or narratives that involve characters using demonstrative pronouns. This can help learners grasp the practical application of these pronouns. Role-Playing: Engage learners in role-playing activities where they use demonstrative pronouns to interact in various scenarios, such as shopping or dining out. Error Correction: Correct any errors in the use of demonstrative pronouns promptly. Provide feedback and explanations to help learners improve. Contextual Reading: Select reading materials that incorporate demonstrative pronouns and discuss them in class to reinforce learning. Multimedia Resources: Utilize multimedia resources like videos or audio clips that demonstrate the use of demonstrative pronouns in real conversations. Progressive Learning: Teach demonstrative pronouns progressively, starting with the basics and gradually introducing more complex concepts, such as emphasis and clarity. 32. Strategies for Learning and Practicing Demonstrative Pronouns For English learners seeking to master demonstrative pronouns, here are effective strategies for learning and practicing: Flashcards: Create flashcards with examples of demonstrative pronouns and their uses. Review them regularly to reinforce memory. Writing Exercises: Practice writing sentences and paragraphs that incorporate demonstrative pronouns. Focus on different contexts, such as formal writing and creative writing. Reading Practice: Read books, articles, and stories in English, paying attention to how demonstrative pronouns are used in context. Conversation Practice: Engage in conversations with native speakers or language partners. Use demonstrative pronouns to describe objects or discuss preferences. Language Apps: Utilize language learning apps and websites that offer exercises and quizzes on demonstrative pronouns. Self-Testing: Create your own sentences using demonstrative pronouns and then check them for correctness. Self-assessment is a valuable learning tool. Labeling Objects: Label objects in your surroundings with sticky notes and use demonstrative pronouns to describe them. Listen Actively: Listen to native speakers in podcasts, movies, or YouTube videos and pay attention to how they use demonstrative pronouns. Engage in Online Forums: Join online language learning forums or communities where you can ask questions and get feedback on your use of demonstrative pronouns. Keep a Grammar Journal: Maintain a journal dedicated to English grammar, including demonstrative pronouns. Write down rules, examples, and your own practice sentences. 33. Conclusion: Mastering Demonstrative Pronouns in English Demonstrative pronouns, encompassing "this," "that," "these," and "those," are indispensable tools in English grammar. They facilitate clear communication by helping speakers and writers specify and identify objects or ideas within a conversation or text. Understanding the rules and applications of demonstrative pronouns, such as indicating proximity, expressing preference, and emphasizing points, is essential for effective language use. English learners and speakers who grasp the intricacies of demonstrative pronouns can enhance their ability to communicate with precision and clarity in a variety of contexts. By following teaching strategies, engaging in practice exercises, and incorporating demonstrative pronouns into their language learning journey, learners can master this important grammatical concept. Ultimately, proficiency in demonstrative pronouns contributes to fluency and confidence in expressing ideas and opinions in English.

<urn:uuid:e3c8400e-ee5e-4a5a-a57d-3248426a6b68>

CC-MAIN-2023-40

https://www.grammarism.com/this-that-these-those-worksheets/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233511023.76/warc/CC-MAIN-20231002232712-20231003022712-00380.warc.gz

en

Since the 17th century, when Isaac Newton and Christiaan Huygens first debated the nature of light, scientists have been puzzling over whether light is best viewed as a wave or a particle—or perhaps, at the quantum level, even both at once. Now, researchers at Stevens Institute of Technology have revealed a new connection between the two perspectives, using a 350-year-old mechanical theorem—ordinarily used to describe the movement of large, physical objects like pendulums and planets—to explain some of the most complex behaviors of light waves. The work, led by Xiaofeng Qian, assistant professor of physics at Stevens and reported in the August 17 online issue of Physical Review Research, also proves for the first time that a light wave’s degree of non-quantum entanglement exists in a direct and complementary relationship with its degree of polarization. As one rises, the other falls, enabling the level of entanglement to be inferred directly from the level of polarization, and vice versa. This means that hard-to-measure optical properties such as amplitudes, phases and correlations—perhaps even these of quantum wave systems—can be deduced from something a lot easier to measure: light intensity. “We’ve known for over a century that light sometimes behaves like a wave, and sometimes like a particle, but reconciling those two frameworks has proven extremely difficult,” said Qian “Our work doesn’t solve that problem — but it does show that there are profound connections between wave and particle concepts not just at the quantum level, but at the level of classical light-waves and point-mass systems.” Qian’s team used a mechanical theorem, originally developed by Huygens in a 1673 book on pendulums, that explains how the energy required to rotate an object varies depending on the object’s mass and the axis around which it turns. “This is a well-established mechanical theorem that explains the workings of physical systems like clocks or prosthetic limbs,” Qian explained. “But we were able to show that it can offer new insights into how light works, too.” This 350-year-old theorem describes relationships between masses and their rotational momentum, so how could it be applied to light where there is no mass to measure? Qian’s team interpreted the intensity of a light as the equivalent of a physical object’s mass, then mapped those measurements onto a coordinate system that could be interpreted using Huygens’ mechanical theorem. “Essentially, we found a way to translate an optical system so we could visualize it as a mechanical system, then describe it using well-established physical equations,” explained Qian. Once the team visualized a light wave as part of a mechanical system, new connections between the wave’s properties immediately became apparent — including the fact that entanglement and polarization stood in a clear relationship with one another. “This was something that hadn’t been shown before, but that becomes very clear once you map light’s properties onto a mechanical system,” said Qian. “What was once abstract becomes concrete: using mechanical equations, you can literally measure the distance between ‘center of mass’ and other mechanical points to show how different properties of light relate to one another.” Clarifying these relationships could have important practical implications, allowing subtle and hard-to-measure properties of optical systems — or even quantum systems — to be deduced from simpler and more robust measurements of light intensity, Qian explained. More speculatively, the team’s findings suggest the possibility of using mechanical systems to simulate and better-understand the strange and complex behaviors of quantum wave systems. “That still lies ahead of us, but with this first study we’ve shown clearly that by applying mechanical concepts, it’s possible to understand optical systems in an entirely new way,” Qian said. “Ultimately, this research is helping to simplify the way we understand the world, by allowing us to recognize the intrinsic underlying connections between apparently unrelated physical laws.” In no particular order, here are some Frankenstein bits and bobs in celebration of the 200th anniversary of the publication of Mary Shelley’s book. The Frankenstein Bicentennial Project This project at Arizona State University has been featured here a few times and most recently in a October 26, 2016 posting about an artist using a Roomba (robotic vacuum cleaner) in an artistic query and about the Frankenstein at 200 online exhibition. A free, interactive, multiplatform experience for kids designed to inspire deeper engagement with STEM topics and promote the development of 21st century skills related to creative collaboration and critical thinking. A collaborative, multimedia reading experiment with Mary Shelley’s timeless tale examining the the scientific, technological, political, and ethical dimensions of the novel, its historical context, and its enduring legacy. A set of hands-on STEM making activities that use the Frankenstein story to inspire deeper conversations about scientific and technological creativity and social responsibility. How to Make a Monster Kathryn Harkup in a February 22, 2018 article about her recent book for the Guardian delves into the science behind Mary Shelley’s Frankenstein (Note: Links have been removed), The bicentenary of the publication of Mary Shelley’s Frankenstein: or the Modern Prometheus has meant a lot of people are re-examining this brilliant work of science fiction. My particular interest is the science fact behind the science fiction. How much real science influenced Mary Shelley? Could a real-life Victor Frankenstein have constructed a creature? In terms of the technical aspects of building a creature from scraps, many people focus on the collecting of the raw materials and reanimation stages. It’s understandable as there are many great stories about grave-robbers and dissection rooms as well as electrical experiments that were performed on recently executed murderers. But there quite a few stages between digging up dead bodies and reanimating a creature. The months of tedious and fiddly surgery to bring everything together are often glossed over, but what virtually no one mentions is how difficult it would have been to keep the bits and pieces in a suitable state of preservation while Victor worked on his creation. Making a monster takes time, and bodies rot very quickly. Preservation of anatomical material was of huge interest when Frankenstein was written, as it is now, though for very different reasons. Today the interest is in preserving organs and tissues suitable for transplant. Some individuals even want to cryogenically freeze their entire body in case future scientists are able to revive them and cure whatever disease caused their original death. In that respect the aims are not so different from what the fictional Victor Frankenstein was attempting two hundred years ago. At the time Frankenstein is set, the late 18th century, few people were really thinking about organ transplant. Instead, tissue preservation was of concern for anatomy professors who wanted to maintain collections of interesting, unusual or instructive specimens to use as teaching aids for future students. She provides fascinating insight into preservation techniques of the 18th century and their dangers, To preserve soft tissues, various substances were injected into or used to coat or soak the dissected specimen. The substance in question had to be toxic enough to destroy mould and bacteria that could decompose the sample, but not corrosive or damaging to the tissues of the specimen itself. Substances such as turpentine, mercury metal and mercury salts (which are even more toxic than the pure element) were all employed stop the decay process in its tracks. Killing off bacteria and mould means that some vital process within them has been stopped; however, many processes that are critical to mould and bacteria are also necessary for humans, making these substances toxic to us. Working in cramped, poorly ventilated conditions with minimal regard for health and safety, the substances anatomical curators were using day in and day out took a serious toll on their health. Anatomical curators were described as emaciated, prematurely aged and with a hacking cough. … One of the most successful techniques for tissue preservation was bottling in alcohol. … In the 18th century the University of Edinburgh handed over twelve gallons of whisky annually to the anatomy museum for the preservation of specimens. Possible not all of those twelve gallons made it into the specimen jars. The nature of the curator’s work – the smell, the problems with vermin and toxic fumes – must have made the odd sip of whisky very tempting. Indeed, more than one curator was dismissed for being drunk on the job. Shelley described Frankenstein working in a small attic room using candlelight to illuminate his work. Small rooms, toxic vapours, alcohol fumes and naked flames are not a healthy combination. No wonder Shelley wrote the work took such a toll on Frankenstein’s health. The year 1818 saw the publication of one of the most influential science-fiction stories of all time. Frankenstein: Or, Modern Prometheus by Mary Shelley had a huge impact on gothic horror and science-fiction genres, and her creation has become part of our everyday culture, from cartoons to Hallowe’en costumes. Even the name ‘Frankenstein’ has become a by-word for evil scientists and dangerous experiments. How did a teenager with no formal education come up with the idea for an extraordinary novel such as Frankenstein? Clues are dotted throughout Georgian science and popular culture. The years before the book’s publication saw huge advances in our understanding of the natural sciences, in areas such as electricity and physiology, for example. Sensational science demonstrations caught the imagination of the general public, while the newspapers were full of lurid tales of murderers and resurrectionists. Making the Monster explores the scientific background behind Mary Shelley’s book. Is there any science fact behind the science fiction? And how might a real-life Victor Frankenstein have gone about creating his monster? From tales of volcanic eruptions, artificial life and chemical revolutions, to experimental surgery, ‘monsters’ and electrical experiments on human cadavers, Kathryn Harkup examines the science and scientists that influenced Shelley, and inspired her most famous creation. The Frankenstein 2018 project is based at Volda University College in Norway, but aims to engage and include people from elsewhere in Norway and around the world. The project is led by Timothy Saunders, an Associate Professor of English Literature and Culture at Volda University College. If you would like to get in touch, either to offer comments on the website, to provide information about related projects or activities taking place around the world, or even to offer relevant material of your own, please write to me at firstname.lastname@example.org. What a great idea and I wish the folks at Volda University College all the best. The Monster Challenge Washington University in St. Louis (WUSL; Missouri, US) is hosting a competition to create a ‘new Frankenstein’, from WUSL’s The Monster Challenge webpage, On June 16, 1816, a 19-year-old woman sat quietly listening as her lover (the poet Percy Bysshe Shelley) and a small group of friends — including celebrated poet Lord Byron — discussed conducting a ghost-story contest. The couple was spending their holiday in a beautiful mansion on the banks of scenic Lake Geneva in Switzerland. As the conversation about ghost stories heated up, a discussion arose about the principle of life. Not surprisingly, the ensuing talk of graves and corpses led to a sleepless night filled with horrific nightmares for Mary Shelley. Later, she recalled her own contest entry began with eight words; “It was on a dreary night in November…” Just two years later, in 1818, that young woman, Mary Shelley, published her expanded submission as the novel Frankenstein, not only a classic of 19th-century fiction, but a work that has enjoyed immense influence on popular culture, science, medicine, philosophy and the arts all the way up to the present day. THE MONSTER CHALLENGE Commemorating the 200th anniversary of the novel’s publication in 1818, Washington University is hosting a competition open to WU students (full time and registered in fall 2018), both undergraduate and graduate. The submission deadline is October 15, 2018. The prompt for our own WU “Monster Challenge” is “The New Frankenstein”: If you learned of a contest today, similar to the one that inspired the publication of Mary Shelley’s Frankenstein in 1818, what new Frankenstein would you create? Winning entries will be those best exemplifying the spirit, tone and feeling of Frankenstein for our age. Submissions are eligible in two categories: written (including poetry, fiction, nonfiction and theater; 5000 word limit) and visual (including new media, experimental media, sound art, performance art, and design). Only one submission is allowed per student or student collaboration group. The winners will be determined by a jury of faculty members and announced in the fall 2018 semester. Winning entries will also be featured on the Frankenstein Bicentennial website (frankenstein200.wustl.edu). Through the generosity of Provost Holden Thorpe’s office, winners will receive a cash prize as well as the opportunity to have their submission read, exhibited, and/or performed during the fall 2018 semester. Prizes are as follows: WRITTEN CATEGORY VISUAL CATEGORY Grand Prize: $1000 Grand Prize: $1000 2nd Prize: $500 2nd Prize: $500 3rd Prize: $250 3rd Prize: $250 HOW TO SUBMIT Please review the guidelines below and download the appropriate submission form … for your project. All submissions are due by 3 pm on October 15, 2018. Only one submission is allowed per student or student collaboration group. Electronic submissions should be emailed to email@example.com along with the appropriate submission form (right). Non-electronic submissions should be dropped off at the Performing Arts Department in Mallinckrodt Center, Room 312 (specific dates and times to be determined). All applicants submitting work here must also send an email to firstname.lastname@example.org with a digital image of the work and the appropriate submission form (right). Entries should fit into a case 74″ w x 87″ h x 23″ d. For exceptions, please contact Professor Patricia Olynyk (email@example.com). For additional information about the contest, please contact the Interdisciplinary Project in the Humanities: firstname.lastname@example.org. One of the most famous literary works of the last two centuries, Mary Shelley’s Frankenstein (1818) permeates our cultural imagination. A man of science makes dead matter live yet abandons his own creation. A creature is composed of human body parts yet denied a place in human society. The epic struggle that ensues between creator and creature poses enduring questions to all of us. What do we owe our non-human creations? How might the pursuit of scientific knowledge endanger or empower humanity? How do we combine social responsibility with our technological power to alter living matter? These moral quandaries drive the novel as well as our own hopes and fears about modernity. Over the last 200 years, Frankenstein has also become one of our most culturally productive myths. The Black Frankenstein became a potent metaphor for racial otherness in the 19th century and remains so to this day. From Boris Karloff as the iconic Monster of 1931 to the transvestite Dr. Frank-N-Furter in The Rocky Horror Picture Show of 1975, the novel has inspired dozens of films and dramatizations. Female poets from Margaret Atwood to Liz Lochhead and Laurie Sheck continue to wrestle with the novel’s imaginative possibilities. And Frankenstein, of course, permeates our material culture. Think no further than Franken Berry cereal, Frankenstein action figures, and Frankenstein bed pillows. Please join us at Washington University in St. Louis as we celebrate Mary Shelley’s iconic novel and its afterlives with a series of events organized by faculty, students and staff from across the arts, humanities and life sciences. Highlights include the conference Frankenstein at 200, sponsored by the Center for the Humanities; a special Frankenstein issue of The Common Reader; a staging of Nick Dear’s play Frankenstein; the symposium The Curren(t)cy of Frankenstein, sponsored by the Medical School; a film series; several lectures; and exhibits designed to showcase the university’s museum and library collections. This site aggregates all events related to the celebration. Please visit again for updates! They do have a page for Global Celebrations and while the listing isn’t really global at this point (I’m sure they’re hoping that will change) it does open up a number of possibilities for Frankenstein aficionados, experts, and enthusiasts, Technologies of Frankenstein Stevens Institute of Technology, College of Arts and Letters and IEEE History Center The 200th anniversary year of the first edition of Mary Shelley’s Frankenstein: Or, The Modern Prometheus has drawn worldwide interest in revisiting the novel’s themes. What were those themes and what is their value to us in the early twenty-first century? In what ways might our tools of science and communication serve as an “elixir of life” since the age of Frankenstein? Frankenstein@200 is a year-long series of academic courses and programs including a film festival, a play, a lecture series and an international Health Humanities Conference that will examine the numerous moral, scientific, sociological, ethical and spiritual dimensions of the work, and why Dr. Frankenstein and his monster still capture the moral imagination today.. San Jose State University, Santa Clara University, and University of San Francisco During 2018, the San Francisco Bay area partners will host The Frankenstein Bicentennial. The novel brings together STEM fields with humanities & the arts in such a way to engage almost every discipline and major. The project’s events will address timely issues of our world in Silicon Valley and the advent of technology – a critical topic with questions important to our academic, regional and world communities. The novel, because it has been so popular for 200 years, lives on in discussions about what it means to be human in a digital world. Next performance: Monday Feb. 26, 2018; 7 PM Extended through 2018! “..it is a success of a show that should be considered something great in the realm of musical theater.” “A musical love letter” – Local Theatre NY “…infused with enough emotion to send chills down the spine…” – Local Theatre NY ““ an ambitious theater piece that is refreshingly buoyed up by its music”” – Theater Scene a new Off-Broadway musical by Eric B. Sirota based on Mary Shelley’s classic novel Presented by John Lant, Tamra Pica & Write Act Repertory at St. Luke’s Theater in the heart of the theatre district . . . a sweeping romantic musical, about the human need for love and companionship, which honors its source material. Performances Monday nights at 7 PM tickets to performances into March currently on sale (scroll down for performance schedule) Contact us for Special Group Sales and Buyouts at: email@example.com St. Luke’s Theatre an Off-Broadway venue in the heart of the theatre district on “Restaurant Row” 308 West 46th Street (btwn. 8th and 9th Ave.) – Book, Music & Lyrics: Eric B. Sirota -Additional lyrics: Julia Sirota – Director: Clint Hromsco – Music Director: Austin Nuckols (original music direction by Anessa Marie) – Producer: John Lant, Tamra Pica and Write Act Repertory – CAST: Jon Rose, Erick Sanchez-Canahuate, Gabriella Marzetta, Stephan Amenta, Cait Kiley, Adam Kee, Samantha Collette, Amy Londyn, Stephanie Lourenco Viegas, Bryan S. Walton Eric Sirota developed Frankenstein under the working title of “Day of Wrath”, an Official Selection of the 2015 New York Musical Theatre Festival’s Reading Series Feb 26, Mon; 7 PM Mar 5, Mon; 7 PM Tickets to later dates on sale soon. . . March 12, 19, 24 April 2, 9, 16, 23, 30 May . . . Jun . . . running though 2018 2018 – Frankenstein bicentennial year! The Purgatory Press* The Purgatory Press blog’s* John Culbert (author and lecturer at the University of British Columbia) wrote a January 1, 2018 essay celebrating and examining Mary Shelley’s classic, She was born in 1797, toward the end of the Little Ice Age. Wolves had been extirpated from the country, but not so long ago that one could forget. Man’s only predator in the British Isles was now a mental throwback. Does the shadow of extinction fall on the children of perpetrators? What strange gap is left in the mind of men suddenly raised from the humble status of prey? In the winter of her sixteenth year, the river Thames froze in London for the last time. The final “Frost Fair,” a tradition dating back centuries, was held February 1814 on the river’s hard surface. The following year, a volcano in present-day Indonesia erupted. It was the most powerful and destructive event of its kind in recorded history. Fallout caused a “volcanic winter” across the Northern Hemisphere. In 1816 – “the year without a summer” – she was in Switzerland, where she began writing her first novel, Frankenstein, published 200 years ago today — on January 1st, 1818. Fascinating, yes? I encourage you to read the whole piece. 3–8 April (with special events on 28 March and 27–28 April) The Science Museum is celebrating the 200th anniversary of Mary Shelley’s Frankenstein or the Modern Prometheus with a free festival exploring the science behind this cultural phenomenon. Through immersive theatre, experimental storytelling and hands-on activities visitors can examine the ethical and scientific questions surrounding the artificial creation of life. Families can step in Doctor Frankenstein’s shoes, creating a creature and bringing it to life using stop motion animation at our drop-in workshops. In the Mystery at Frankenstein’s Lab visitors can solve puzzles and conduct experiments in an escape room-like interactive experience. Visitors are also invited to explore the Science Museum as you’ve never heard it before in It’s Alive, an immersive Frankenstein-themed audio tour. Both these activities have limited availability so pre-booking is advised. In Pandemic, you decide how far Dr Victor should go to tackle a virus sweeping the world. Is it right to create new life to save others? You decide where to draw the line in this choose-your-own-adventure experience. Visitors can also see Humanity 2.0, a play created and performed by actor Emily Carding. Set in a post-apocalyptic future, the play examines what could happen if a benevolent AI recreated humanity. As part of the festival, visitors will meet researchers at the cutting-edge of science—from bio chemists who manipulate DNA to engineers creating artificial intelligence—and discover fascinating scientific objects with our curators which could have influenced Shelley. The Frankenstein Festival will run daily from 3–8 April at the Science Museum and is supported by players of People’s Postcode Lottery. Tickets for activities with limited availability are available from sciencemuseum.org.uk/Frankenstein. Our free adult-only Frankenstein Lates on 28 March will focus on the darker themes of Shelley’s iconic novel, with the Promethean Tales Weekend on 27–28 April, featuring panel discussions and special screenings of Terminator 2: Judgement Day and The Curse of Frankenstein in our IMAX cinema. Frankenstein Festival activities include: An immersive audio tour created by Cmd+Shift in collaboration with the Science Museum. The tour takes 45 minutes and is limited to 15 people per session. Recommended for ages 8+. Tickets cost £3 and are available here. Mystery at Frankenstein’s Lab This interactive, theatrical puzzle experience has been created by Atomic Force Productions, in collaboration with the Science Museum. Each session lasts 45 minutes and is limited to 10 people per session. Recommended for ages 12+, under 16s must be accompanied by an adult. Tickets cost £10 and are available here. Create Your Own Creature Get hands on at our drop-in workshops and create your very own creature. Then bring your creature to life with stop motion animation. This activity takes approximately 20 minutes and is suitable for all ages. Humanity 2.0 (3–5 April) Step into a dystopian future and help shape the future of humanity in this unique interactive play created and performed by Emily Carding. Her full body make-up was created by award winning body painter Victoria Gugenheim in collaboration with the Science Museum. The play has a run time of 45 minutes and is recommended for ages 12+. Pandemic (5–8 April) This choose-your-own-adventure film puts you in control of a psychological thriller. Your decisions will guide Dr Victor on their quest to create artificial life. Pandemic was created by John Bradburn in collaboration with the Science Museum. The film contains moderate psychological threat and horror sequences that some people may find disturbing. The experiences lasts 45 minutes and is recommended for ages 14+. Tickets are free and are available here. Frankenstein Festival events include: Wednesday 28 March, 18.45–22.00 Join us for a fun free evening of events, workshops and screenings as we ask the question ‘should we create life’. Lates is a free themed-event for adults at the Science Museum on the last Wednesday of each month. Find out more about Lates at sciencemuseum.org.uk/Lates. Artificial Life: Should We, Could We, Will We? Wednesday 28 March as part of the Frankenstein Lates A panel of expert scientists and researchers will discuss artificial life. Just how close are we to creating fully synthetic life and will this be achieved by biological or digital means? Discussing those questions will be Professor of Cognitive Robotics at Imperial College and scientific advisor for the hit movie Ex Machina Murray Shanahan, Vice President of the International Society for Artificial Life Susan Stepney and Lead Curator of the Science Museum’s acclaimed 2017 exhibition Robots Ben Russell. Further speakers to be announced. Promethean Tales Weekend Terminator 2: Judgement Day + Panel Discussion Friday 27 April, 19.30–22.35 (Doors open 19.00) Tickets: £8, £6 Concessions Age 15 and above In part one of our Promethean Tales Weekend celebrating the 200th anniversary of Mary Shelley’s Frankenstein, we will be joined by a panel of experts in science, film and literature to discuss the topic of ‘Promethean Tales through the ages’ ahead of a screening of Terminator 2: Judgement Day. The Curse of Frankenstein and Q&A with Sir Christopher Frayling Saturday 28 April, 18.00–20.30 (Doors open 17.30) Tickets: £8, £6 Concessions In part two of our Promethean Tales Weekend, we are joined by Sir Christopher Frayling, author of Frankenstein: The First Two Hundred Years, to discuss the life and work of Shelley, the origins of her seminal story and its cultural impact. The screening of The Curse of Frankenstein will be followed by a book signing with copies of Sir Christopher’s book available to purchase on the night. You can find out more about the festival and get tickets to events, here. This initiative seems like a lot of fun, from the Frankenreads homepage, Frankenreads is an NEH [US National Endowment for the Humanitities]-funded initiative of the Keats-Shelley Association of America and partners to hold a series of events and initiatives in honor of the 200th anniversary of Mary Shelley’s Frankenstein, featuring especially an international series of readings of the full text of the novel on Halloween 2018. They have a very open approach as their FAQs webpage attests to, Why host a Frankenreads event? Frankenstein, or, The Modern Prometheus appeals to both novice and expert readers alike and is a work that remains highly relevant to contemporary issues. Thus it is perhaps no surprise that (according to the Open Syllabus project) Frankenstein is the most frequently taught work of literature in college English courses and the fifth most frequently taught book in college courses in all disciplines. It is certainly one of the most read British novels in the world. Hosting a Frankenreads event is an easy way both to celebrate the 200th anniversary of this important work and to foster discussion about issues such as ethics in science and the human tendency to demonize the unfamiliar. By participating in Frankenreads, you can make sure that your thoughts about Frankenstein are part of a global conversation. What kind of event can I host? You can host any kind of event you like! Below are some suggestions. Click on the event type for further guidance. Complete Reading — A live, all-day reading (about 9 hours) of the full text of Frankenstein Viewing — A community viewing on Halloween 2018 of the livestream of the NEH reading or other online events Other — Whatever other kind of in-person or online event you can think of! Should I hold in-person events or online events? Either or both! We encourage you to record in-person events and upload video to our YouTube channel. We will also be providing advice on holding events via Google Hangouts. When should I hold the event? You can hold a Frankenreads event any time you like, but we encourage you to schedule an event during Frankenweek: October 24-31, 2018. Why post my event on the Frankenreads website? Posting your event on the Frankenreads website enables the Frankenreads team to publicize your event widely, to give you help with your event, and to connect you with others who are holding nearby or similar events. How do I post my event on the Frankenreads website?

<urn:uuid:c9ab83e2-dca8-4bdc-8961-cab9b5e1a604>

CC-MAIN-2023-40

https://www.frogheart.ca/?tag=stevens-institute-of-technology

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506028.36/warc/CC-MAIN-20230921141907-20230921171907-00181.warc.gz

en

In the vast realm of world literature, drama has emerged as a captivating and enduring form of artistic expression. From ancient Greek tragedies to modern stage productions, theatrical works have woven intricate narratives, explored profound human emotions, and provided a platform for social critique. This article delves into the rich tapestry of drama in world literature, examining its significance as an art form that transcends borders and time periods. One compelling example is found in William Shakespeare’s renowned tragedy, “Hamlet.” Set in Denmark during the 16th century, this play depicts the protagonist’s internal struggle with grief, revenge, and morality. Through his masterful use of soliloquies and dramatic irony, Shakespeare brings forth Hamlet’s complex character and exposes universal themes such as existentialism and the consequences of indecision. The timeless appeal of “Hamlet” lies not only in its exploration of individual psychology but also in its ability to resonate with audiences across centuries. Drama serves as an invaluable window into diverse cultures and historical epochs. By analyzing various plays from different literary traditions – be it Sophocles’ tragic dramas or Brechtian epic theater – we gain insights into societal norms, political ideologies, and philosophical underpinnings prevalent at specific points in history. Furthermore , drama allows us to empathize with characters from different backgrounds and walks of life, fostering a deeper understanding and appreciation for the complexities of human experiences. One striking example of cross-cultural exploration through drama is the Japanese theatrical form known as Noh. Developed during the 14th century, Noh combines music, dance, and poetry to tell stories rooted in Japanese folklore and history. Through its stylized movements and minimalist aesthetics, Noh offers a glimpse into the spiritual beliefs and artistic sensibilities of medieval Japan. By studying Noh plays such as “Takasago” or “Atsumori,” we can gain an appreciation for a unique cultural heritage that continues to influence contemporary theater. Beyond cultural exploration, drama also serves as a powerful vehicle for social critique. Playwrights throughout history have used their works to challenge societal norms, expose injustices, and provoke thought among audiences. For instance, Henrik Ibsen’s play “A Doll’s House” shocked Victorian society by questioning gender roles and advocating for women’s rights. This groundbreaking work ignited discussions about marriage, identity, and independence at a time when such topics were considered taboo. In addition to stage productions, drama has also found new avenues for expression in film and television. The advent of these mediums has allowed stories to reach wider audiences than ever before, transcending geographical boundaries and language barriers. From classic films like Ingmar Bergman’s “The Seventh Seal” to contemporary series like “Breaking Bad,” dramatic narratives continue to captivate viewers across cultures. In conclusion, drama in world literature holds immense significance as an art form that bridges gaps between cultures and generations. Whether through Shakespearean tragedies or traditional Japanese Noh plays, dramatic works offer profound insights into the human condition while promoting empathy and understanding. As we continue to explore the vast realm of world literature, it is essential not to overlook the power of drama in shaping our collective imagination and enriching our lives. Tragic Tales: Exploring the Depths of Human Suffering One haunting example that exemplifies the exploration of human suffering in world literature is Sophocles’ ancient Greek tragedy, “Oedipus Rex.” This timeless play delves into themes such as fate, free will, and self-discovery. Through the tragic journey of Oedipus, who unknowingly kills his father and marries his mother, audiences are confronted with the frailty of human existence and the devastating consequences of our actions. The exploration of human suffering often serves as a mirror through which we can reflect on our own lives and experiences. Tragedies provoke deep emotional responses from audiences by presenting characters facing unimaginable adversity. These stories force us to confront our fears, contemplate moral dilemmas, and question the nature of humanity itself. The following bullet points encapsulate some common elements found within tragic tales: - Protagonists confronted with insurmountable obstacles - Exploration of universal themes like love, loss, betrayal, and redemption - Cathartic release for both characters and audience members alike - Reflection on the complexities and contradictions inherent in human nature To further illustrate how tragedies resonate with readers across cultures and time periods, consider the table below showcasing four renowned tragic works from different parts of the world: |“Hamlet”||William Shakespeare||Elizabethan England| |“Death of a Salesman”||Arthur Miller||Post-WWII United States| These plays vary greatly in setting and cultural context but share a common thread in their exploration of profound suffering experienced by their respective protagonists. By examining these diverse examples alongside one another, we gain a broader understanding of the universality and enduring impact of tragic narratives. In transitioning to the subsequent section on “Comic Relief: Laughter as a Tool for Reflection,” we recognize that while tragedies delve into the depths of human suffering, they are not the sole focus in dramatic literature. By exploring both tragedy and comedy, we can fully appreciate the breadth of emotions elicited by theatrical performances. Comic Relief: Laughter as a Tool for Reflection Following the exploration of tragic tales that delve into the depths of human suffering, we now turn our attention to another facet of drama in world literature – comic relief. While tragedy elicits profound emotions and contemplation, comedy serves as an essential counterpoint, offering respite from the weightiness of existence. Through humor and laughter, playwrights have been able to provide audiences with moments of joy and reflection amidst life’s trials. Consider, for instance, the play “The Importance of Being Earnest” by Oscar Wilde. Set in Victorian society, this satirical comedy mocks societal conventions and explores themes such as identity and marriage through witty dialogue and absurd situations. By employing comedic elements, Wilde effectively engages his audience while also prompting them to reflect on the superficiality and hypocrisy prevalent in their own lives. To better understand how comedy functions within dramatic works, let us examine some key features: - Exaggeration: Comedies often employ exaggerated characters or situations to highlight certain flaws or idiosyncrasies found within society. - Irony: The use of irony is common in comedic writing, allowing authors to create humorous contrasts between what is expected and what actually occurs. - Wordplay: Puns, double entendres, and clever wordplay are frequently utilized in comedies to provoke amusement and engage the audience intellectually. - Social Critique: Comedy has long served as a vehicle for social commentary. Playwrights often utilize humor to critique societal norms or challenge prevailing ideologies. In exploring these aspects of comedy within theatrical works throughout history, it becomes evident that laughter can be a powerful tool for self-reflection and critical examination. As we continue delving into the rich tapestry of drama in world literature, we now transition towards examining plays that unveil historical events on stage – shedding light on past narratives that shape our understanding of the present. (Unveiling the Past: Historical Events on Stage) The depiction of historical events in theatrical works offers a unique lens through which we can analyze the impact of past narratives on present-day perspectives. By bringing significant moments from history to life, playwrights have the power to engage audiences emotionally and intellectually, fostering a deeper understanding of our collective heritage. Unveiling the Past: Historical Events on Stage Building upon the theme of using theater as a means of reflection, we now turn our attention to another aspect of drama in world literature. In this section, we explore how historical events are brought to life on stage, shedding light on the past and its impact on the present. One compelling example that demonstrates the power of portraying historical events through theater is Arthur Miller’s renowned play “The Crucible.” Set during the Salem witch trials of 1692, Miller uses this historical backdrop to shed light on McCarthyism in 1950s America. By intertwining these two periods, he invites audiences to reflect not only on the horrors faced by those accused of witchcraft but also on the dangers of mass hysteria and unjust persecution in any era. When exploring historical events through theatrical performances, several key elements come into play: - Authenticity: Playwrights strive for accuracy in depicting historical settings and characters. Careful research ensures that costumes, language, and cultural nuances align with the time period being portrayed. - Emotional resonance: Theater has an unparalleled ability to evoke emotions within its audience. By witnessing historically significant moments unfold before their eyes, spectators can experience empathy, anger, or even joy—connecting them deeply with the subject matter. - Moral dilemmas: Historical plays often confront moral complexities head-on. Audiences are forced to grapple with ethical decisions made by characters facing challenging circumstances—a testament to humanity’s capacity for both greatness and fallibility. - Social commentary: Through dramatizing historical events, playwrights offer insightful social commentary that resonates long after the final curtain call. These commentaries encourage critical thinking about societal issues both past and present. |Authenticity||Striving for accurate portrayal of historical settings and characters| |Emotional Resonance||Eliciting deep emotional responses from the audience| |Moral Dilemmas||Presenting complex ethical choices for characters and viewers to consider| |Social Commentary||Offering insightful perspectives on societal issues| In conclusion, theater provides a unique platform for unveiling historical events, allowing audiences to engage with the past in a visceral way. Through authenticity, emotional resonance, moral dilemmas, and social commentary, playwrights bring history alive on stage and challenge spectators to reflect upon their own place within the larger narrative of humanity. Building upon our exploration of historical events depicted in theater, we now delve into another aspect of drama’s power—its ability to capture tales of love and heartbreak. In the following section, we will explore how romantic narratives have enraptured audiences throughout the ages. Love and Heartbreak: The Power of Romantic Narratives The power of theater lies not only in its ability to entertain, but also in its capacity to educate and illuminate significant moments from history. By bringing historical events to life on stage, playwrights have the unique opportunity to transport audiences back in time and shed light on crucial narratives that shape our understanding of the world. One notable example is Arthur Miller’s play “The Crucible,” which explores the infamous Salem witch trials of 1692 as a reflection of McCarthyism during the Red Scare era. When examining the representation of historical events in drama, several key aspects emerge: - Authenticity: Playwrights strive for authenticity by conducting extensive research and incorporating accurate details into their scripts. This commitment to historical accuracy helps create a sense of realism that engages audiences emotionally and intellectually. - The use of primary sources such as diaries, letters, and eyewitness accounts adds credibility. - Attention to costume design, set decoration, and dialect enhances the overall authenticity of the production. - Incorporating archival footage or photographs during performances can further immerse viewers in the historical context. - Interpretation: While adhering to facts is important, playwrights often interpret historical events through a particular lens or perspective. Through their creative choices, they offer nuanced insights into complex situations and encourage audiences to question conventional wisdom. - Shifting focus onto lesser-known individuals or marginalized groups brings untold stories into the spotlight. - Presenting multiple perspectives within a single narrative challenges simplistic interpretations. - Reimagining historical figures as fictional characters allows for exploration beyond documented facts. - Emotional Impact: Theater has an extraordinary ability to evoke emotions and connect with audience members on a visceral level. When it comes to portraying historical events, this emotional connection becomes even more potent. Table: Emotions Elicited by Historical Dramas |Empathy||The ability to understand and share the feelings of characters, fostering a sense of compassion.| |Anger||Sparking indignation towards injustices or oppressive systems depicted in historical narratives.| |Sadness||Eliciting sorrow for the suffering endured by individuals during significant moments in history.| |Inspiration||Encouraging viewers to reflect on past struggles and find motivation to create positive change today.| - Relevance: Despite being rooted in the past, historical plays often resonate with contemporary audiences by drawing parallels between then and now. By exploring universal themes, they invite reflection on our shared human experience across time. In this way, theater becomes a powerful tool for preserving collective memory and ensuring that important stories from history are not forgotten. As we delve into the next section, “Love and Heartbreak: The Power of Romantic Narratives,” we will explore how dramas centered around love have captivated audiences throughout the ages while reflecting societal norms and challenging established conventions. The Absurdity of Existence: Challenging Reality through Drama From the depths of heartbreak, we emerge into a realm where reality itself is questioned and challenged. In this section, we delve into the absurdity of existence as portrayed in dramatic literature. Through thought-provoking narratives, playwrights have explored the very nature of human existence, pushing boundaries and challenging our perceptions of reality. To illustrate this concept, let us consider Samuel Beckett’s renowned play “Waiting for Godot.” The story revolves around two characters, Vladimir and Estragon, who wait endlessly for someone named Godot. As time passes with no sign of Godot’s arrival, the characters engage in philosophical discussions and engage in seemingly meaningless activities. This play serves as an example of how drama can highlight the futility and absurdity that often accompanies human existence. Within the genre of absurdist drama, several key themes arise that evoke powerful emotional responses from audiences: - Alienation: Characters experience a profound sense of detachment and isolation from society or even their own selves. - Meaninglessness: The absence of clear purpose or significance prompts reflection on the fundamental questions surrounding life’s meaning. - Existential Anxiety: An overwhelming feeling of unease emerges when confronted with existential dilemmas and uncertainties. - Absurd Logic: Rationality is subverted through illogical actions and nonsensical dialogue, questioning conventional modes of thinking. In exploring these themes further, it is helpful to examine them within the context of a three-column table: |Alienation||Profound detachment from society or self||Characters’ estrangement in “The Stranger”| |Meaninglessness||Lack of clear purpose or significance||Absence of tangible goals in “Rosencrantz and Guildenstern Are Dead”| |Existential Anxiety||Overwhelming unease regarding existence||Uncertainty about life after death in “No Exit”| |Absurd Logic||Subversion of rationality and conventional thinking||Nonsensical dialogue in “The Bald Soprano”| In conclusion, the exploration of absurdity in dramatic literature challenges our perception of reality and forces us to confront existential questions. Through plays like Beckett’s “Waiting for Godot,” we witness characters grappling with the meaninglessness of their existence, the nagging anxiety that accompanies it, and the absurd logic by which they navigate their lives. As we move forward into the next section on farce, we will explore how humor can also serve as a means to question societal norms and further push the boundaries of theatrical expression. Laughing Out Loud: The Art of Farce invites us to examine yet another facet of drama where laughter becomes a tool for introspection. [Laughing Out Loud: The Art Of Farce] Laughing Out Loud: The Art of Farce Section H2: ‘Laughing Out Loud: The Art of Farce’ Building upon the exploration of challenging reality through drama, we now turn our attention to another captivating aspect of theatrical literature – the art of farce. As a genre known for its exaggerated humor and comedic situations, farce serves as an entertaining escape from the complexities of life. By employing absurdity and chaotic plotlines, playwrights use farce to expose societal follies while tickling their audience’s funny bone. One example that highlights the essence of farce is Molière’s renowned play “The Imaginary Invalid.” This satirical comedy revolves around Argan, a hypochondriac who believes he suffers from every ailment imaginable. Through a series of comical events, including extravagant medical treatments and mistaken identities, Molière masterfully presents a world where reason and logic are constantly undermined by ridiculous circumstances. Such an approach not only elicits laughter but also prompts reflection on society’s obsession with health and the human tendency to create unnecessary complications. To further understand the impact of farce in theatrical literature, it is crucial to examine its key elements: - Exaggerated characters: Farces often feature larger-than-life characters whose actions and reactions are amplified for comedic effect. These characters embody stereotypes or archetypes, allowing audiences to easily identify with them while finding amusement in their over-the-top behaviors. - Chaotic plots: The frenzied pace and convoluted plots characteristic of farces contribute to their humorous nature. Unexpected twists, misunderstandings, and mistaken identities interweave into intricate webs that keep viewers engaged and amused throughout the performance. - Physical comedy: Slapstick humor involving physical movements, gestures, or even props plays a significant role in evoking laughter within farces. Trips, falls, door-slamming sequences – these moments rely on precise timing and execution to generate uproarious responses from spectators. - Verbal wit: Clever wordplay, puns, and double entendre often feature prominently in farces. Playwrights skillfully utilize language to create humorous situations through misunderstandings or clever comebacks, enhancing the comedic experience for the audience. |Elements of Farce||Definition| |Exaggerated characters||Larger-than-life personas that embody stereotypes or archetypes.| |Chaotic plots||Frenzied storylines with unexpected twists, misunderstandings, and mistaken identities.| |Physical comedy||Slapstick humor involving exaggerated physical movements, gestures, and props.| |Verbal wit||Clever wordplay, puns, and double entendre used to create humorous situations through misunderstandings or witty comebacks.| In exploring the art of farce within theatrical literature, we witness its ability to entertain while exposing societal absurdities. By employing exaggerated characters, chaotic plotlines, physical comedy, and verbal wit, playwrights engage audiences on a journey filled with laughter and reflection. As we now delve into the next section on tragedy in world literature – an exploration of human nature at its most profound – we continue our examination of how drama serves as a mirror to society’s multifaceted facets without losing sight of its entertaining allure. Transitioning seamlessly from the world of laughter inherent in farce to the depths of tragedy portrayed in dramatic works allows us to explore another facet of human existence – the frailty and complexity that lies beneath. In our subsequent section titled ‘Exploring Human Nature: Tragedy in World Literature,’ we delve into narratives that confront humanity’s deepest struggles and illuminate timeless truths about life itself. Exploring Human Nature: Tragedy in World Literature Building on the theme of laughter explored in the previous section, we now turn our attention to a different facet of drama: tragedy. Tragedy has long been an integral part of world literature, captivating audiences with its exploration of human nature and the complexities of life’s darker moments. Through powerful narratives and profound characterizations, tragic works have allowed us to delve into the depths of despair and contemplate the fragility of our existence. In order to better understand this genre, let us examine some key characteristics and notable examples. Tragic plays often serve as mirrors that reflect the universal aspects of human experience. One such example is Shakespeare’s timeless masterpiece, “Romeo and Juliet.” This tale of star-crossed lovers explores themes of love, conflict, and fate while highlighting the consequences of impulsive actions driven by passion. The play resonates with audiences across time and cultures due to its ability to tap into fundamental emotions and dilemmas that transcend specific historical contexts. To further grasp the essence of tragedy, it is essential to recognize several recurring elements commonly found within these dramatic works: - Protagonists facing insurmountable obstacles. - Flawed characters whose fatal flaws lead to their downfall. - Themes centering around mortality, suffering, and existential questions. - Catharsis – an emotional release experienced by audience members through identification with characters’ struggles. |Elements in Tragedy||Descriptions| |Insurmountable obstacles||Characters encounter seemingly impossible challenges or circumstances they cannot overcome.| |Fatal flaws||Protagonists possess inherent weaknesses or make critical mistakes that contribute to their eventual ruin.| |Themes of mortality and suffering||Tragedies often explore the transient nature of existence and emphasize the inevitability of pain and loss.| |Catharsis||Audience members undergo an emotional purging or release as they empathize with characters’ plights.| As we delve deeper into the realm of tragedy in world literature, it becomes apparent that these works serve not only as vehicles for entertainment but also as profound reflections on the human condition. They force us to confront our own vulnerabilities and grapple with life’s uncertainties. In doing so, tragic plays invite us to examine the darkest corners of our souls and contemplate the fragility of existence itself. Moving forward from this exploration of tragedy, we will now shift our focus towards a contrasting element within drama – comedic elements in theatre. By examining how humor is woven into theatrical narratives, we gain insight into another dimension of human experience, finding joy even amidst the absurdities of life. Finding Joy in the Absurd: Comedic Elements in Theatre Section H2: Exploring Human Nature: Tragedy in World Literature The tragic elements of human nature have long captivated audiences throughout the history of world literature. From Shakespeare’s heart-wrenching tale of Romeo and Juliet to Sophocles’ timeless tragedy, Oedipus Rex, these narratives delve into the depths of sorrow, despair, and the complexities of human existence. However, as we transition from examining tragedies, let us now explore another facet of drama that introduces a different lens through which to view life – comedic elements in theatre. Comedy serves as a counterbalance to tragedy by offering light-hearted relief and exploring the often absurd aspects of life. While it may not evoke the same intensity of emotions as tragedy does, comedy has its own unique ability to connect with audiences on a universal level. For example, imagine a hypothetical scenario where a young woman finds herself caught between two suitors vying for her affection. Through witty dialogue, physical humor, and situational irony, this comedic storyline would provide an entertaining escape from reality while still addressing relatable themes such as love, misunderstandings, and personal growth. To better understand how comedies resonate with individuals across cultures and time periods, consider the following bullet points: - Comedy offers catharsis by allowing audiences to release tension through laughter. - Comedic elements highlight the follies and idiosyncrasies inherent in human behavior. - Humor can serve as social commentary by satirizing societal norms or institutions. - Comedies often present characters who undergo transformational journeys towards self-discovery. In addition to these thematic explorations within comedy, playwrights also employ various techniques to enhance their comedic storytelling. One such technique includes wordplay or puns that rely on clever linguistic manipulation for humorous effect. Another technique is farce – exaggerated situations or physical comedy that elicit laughter through over-the-top scenarios. Additionally, comedic timing plays a crucial role in ensuring that jokes and punchlines land with maximum impact. As we transition into the subsequent section, it is important to recognize that comedy serves as a vital component of the theatrical tapestry. It provides not only entertainment but also insights into the human condition. By exploring both tragedy and comedy, we gain a more comprehensive understanding of the spectrum of emotions and experiences encapsulated within drama. Now, let us delve deeper into the echoes of history through historical dramas in literature. |Comedy vs Tragedy| |Follies and idiosyncrasies| |Satirizing societal norms| |Transformational journeys towards self-discovery| Historical Dramas in Literature offer a unique perspective on how past events continue to shape our present narratives. The Echoes of History: Historical Dramas in Literature Drama in World Literature: The Theatrical Tapestry In exploring the multifaceted nature of drama, it is crucial to recognize that comedy holds a significant place within the theatrical tapestry. Through its ability to elicit laughter and provide moments of lightness, comedy serves as a counterbalance to the often serious and profound themes found in dramatic works. To illustrate this point, let us consider the renowned play “The Importance of Being Earnest” by Oscar Wilde. “The Importance of Being Earnest,” set in Victorian society, satirizes social conventions and exposes the hypocrisy prevalent during that era. By adopting a witty and farcical tone, Wilde invites audiences to reflect on societal norms through humor. This example highlights how comedic elements can be used effectively to engage viewers while also offering them an opportunity for introspection. Comedy plays various roles within theatre, including: - Providing relief from tension: Comedy offers respite from intense emotional moments by creating lighthearted scenes or incorporating humorous dialogue. - Building camaraderie with the audience: Laughter creates a shared experience between performers and spectators, fostering a sense of connection. - Challenging societal norms: Satire and irony allow playwrights to question established ideas and challenge prevailing ideologies. - Offering escapism: In times of hardship or distress, comedy provides an escape from reality by transporting individuals into a world filled with joy and laughter. To further emphasize the significance of comedy in theater, we can examine how different comedic techniques are employed across various plays. Consider the following table showcasing three notable comedies along with their respective comedic devices: |“A Midsummer Night’s Dream”||Mistaken Identity||Bottom being transformed into an ass| |“Tartuffe”||Satire and Farce||Orgon’s blind devotion to the hypocritical Tartuffe| |“The Comedy of Errors”||Physical Comedy and Wordplay||The confusion caused by identical twins and mistaken identity| As we can see from these examples, comedic elements in theater take on various forms, ranging from wordplay and physical comedy to satire and farce. This diversity allows playwrights to explore different aspects of humor while engaging audiences emotionally. In the upcoming section, we will delve into another facet of drama: romantic dramas. By examining plays that center around love and loss, we will uncover how this genre evokes profound emotions within viewers. A Tale of Love and Loss: Romantic Dramas in Theatre Echoes of history reverberate through the realm of literature, as playwrights have often found inspiration in past events to craft powerful historical dramas. These works transport audiences back in time, offering a glimpse into pivotal moments and personalities that shaped our world. One such example is Shakespeare’s “Julius Caesar,” which explores betrayal, ambition, and political upheaval during ancient Rome. Through its compelling narrative and complex characters, this play delves deep into human nature while highlighting the parallels between historical events and contemporary society. Historical Dramas captivate audiences by shedding light on universal themes that transcend time and place. Here are some key aspects that make these plays so captivating: - Emotional resonance: Historical dramas evoke strong emotions by presenting stories rooted in real or imagined accounts of significant events. They allow us to empathize with characters who undergo personal struggles amidst larger historical conflicts. - Moral dilemmas: By confronting characters with difficult choices, historical dramas force us to grapple with ethical questions and contemplate the consequences of their actions. This moral complexity adds depth to the narratives presented onstage. - Sociopolitical commentary: Often serving as a reflection of their own times, historical dramas offer insightful commentary on social structures, power dynamics, and societal norms prevalent during different eras. They encourage critical thinking about present-day issues by drawing parallels between past and present. - Cultural preservation: Historical dramas contribute to the preservation of cultural heritage by keeping alive stories from various periods in history. Through theatrical adaptations, these tales continue to resonate with modern audiences while honoring the legacies they represent. To further understand the impact of historical drama, consider the following table showcasing notable examples across different epochs: |Ancient||“Antigone”||Duty versus personal freedom| |Medieval||“Doctor Faustus”||Temptation and human desires| |Renaissance||“Macbeth”||Ambition and the corrupting nature of power| |Modern||“The Crucible”||Hysteria, fear, and mass paranoia| As we delve into the world of historical dramas, it becomes evident that these plays transcend their specific time periods to resonate with audiences throughout history. They serve as a testament to the enduring power of storytelling and its ability to transport us across centuries. In our exploration of romantic dramas in theatre, we shall witness how love’s complexities are explored on stage. Transitioning seamlessly from past to present, we now turn our attention towards breaking boundaries through Absurdist Drama. This genre challenges traditional theatrical conventions by embracing irrationality and questioning the meaning and purpose of human existence. By delving into the absurdity of life itself, playwrights provoke contemplation about fundamental aspects of being. Let us embark on this thought-provoking journey together. Breaking Boundaries: The Absurdity of Absurdist Drama Drama in World Literature: The Theatrical Tapestry A Tale of Love and Loss has captivated audiences for centuries, but the realm of drama does not end there. As we delve further into the rich tapestry of world literature, it becomes evident that there are other genres that push boundaries and challenge traditional notions of storytelling. In this section, we will explore the realm of Absurdist Drama – a genre that embraces the absurdity of life itself. Imagine a stage where characters engage in nonsensical conversations, performing repetitive actions without purpose or meaning. This is at the heart of Absurdist Drama, which emerged in the early 20th century as a response to the disillusionment caused by two devastating world wars. Playwrights such as Samuel Beckett and Eugene Ionesco sought to convey an existentialist perspective through their works, highlighting humanity’s struggle to find purpose and coherence in an increasingly chaotic world. Absurdist Drama can be characterized by several key elements: - Disrupted narratives: Plots often lack linear structure or logical progression, reflecting the fragmented nature of human existence. - Language as a tool: Words become meaningless or lose their grounding in reality; dialogues may feature repetition or illogical phrases. - Surreal settings: Settings are often abstract or devoid of any sense of place and time, emphasizing the disorientation experienced by characters. - Symbolism and allegory: Absurd plays frequently employ symbolic imagery to communicate deeper philosophical themes. To provide a more comprehensive understanding of Absurdist Drama, let us examine its characteristics using a table that showcases notable playwrights and their iconic works: |Samuel Beckett||Waiting for Godot| |Jean Genet||The Balcony| |Harold Pinter||The Birthday Party| This genre of drama challenges traditional expectations and conventions, forcing audiences to question their own existence and the absurdity that may lie within it. As we transition into our next section on “From Laughter to Reflection: The Evolution of Farce in Theatre,” we will witness how comedy can also serve as a powerful tool for introspection and social commentary. So let us now turn our attention to the evolution of farce in theatre. From Laughter to Reflection: The Evolution of Farce in Theatre Building upon the exploration of Absurdist Drama, we now delve into another intriguing facet of theatrical expression. In this section, we examine the evolution of farce in theatre and its transition from mere laughter-inducing entertainment to a vehicle for reflection on societal issues. Through an analysis of historical examples and thematic elements, we shed light on how farce has shaped dramatic narratives across cultures. Section – From Laughter to Reflection: The Evolution of Farce in Theatre Farce, known for its exaggerated humor and improbable situations, holds a prominent place within world literature. To illustrate the transformative power of farce, consider the hypothetical example of “The Misadventures of Monsieur Dupont.” This play follows the comical mishaps encountered by an eccentric protagonist as he navigates through absurd circumstances. While initially presenting itself as pure comedy, “The Misadventures of Monsieur Dupont” gradually unveils deeper layers that mirror societal critiques inherent in farcical works. To understand the progression from lighthearted amusement to thought-provoking commentary within farce, it is crucial to explore key characteristics associated with this genre: - Hyperbolic Situations: Farces often feature extreme scenarios where characters find themselves entangled in convoluted misunderstandings or mistaken identities. - Exaggerated Characters: Larger-than-life individuals inhabit these plays, emphasizing their idiosyncrasies and amplifying comedic effect. - Rapid Pace and Timing: Farces rely heavily on quick wit, snappy dialogue, and precise timing to generate laughter from audiences. - Social Commentary Disguised as Comedy: Beneath the surface hilarity lies subtle social critique that challenges prevailing norms or satirizes societal conventions. |Hyperbolic Situations||Mistaken identity leading to chaos in “The Importance of Being Earnest” by Oscar Wilde| |Exaggerated Characters||The over-the-top antics of Malvolio in Shakespeare’s “Twelfth Night”| |Rapid Pace and Timing||The lightning-fast banter between the characters in Molière’s “Tartuffe”| |Social Commentary Disguised as Comedy||Critique on class divides through farcical elements in Dario Fo’s “Accidental Death of an Anarchist”| As farce evolved throughout history, it expanded beyond mere amusement to include thought-provoking themes. Playwrights began utilizing its inherent comedic nature to explore societal issues and challenge prevailing ideologies. By disguising social commentary within laughter-inducing situations, farces became powerful tools for engaging audiences emotionally and intellectually. In conclusion, the evolution of farce from a purely humorous genre to a medium for reflection underscores the multifaceted nature of theatre. Through hyperbolic situations, exaggerated characters, rapid pace and timing, and subtle social critique disguised as comedy, farces have left an indelible mark on world literature. As we continue our exploration of drama in world literature, we shall uncover further layers within this intricate tapestry that captivates both entertainers and spectators alike.

<urn:uuid:4fa66de6-c408-452c-849f-6c0c7d80f2d3>

CC-MAIN-2023-40

https://azbuk.net/drama/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510300.41/warc/CC-MAIN-20230927135227-20230927165227-00481.warc.gz

en

Australian Cassowary is a remarkable and enigmatic species that calls the lush rainforests of Australia its home. As one of the most unique and awe-inspiring birds on the planet, the Australian Cassowary has piqued the curiosity of nature enthusiasts, scientists, and tourists alike. In this article, we embark on a journey to uncover the secrets of this magnificent bird, exploring its physical characteristics, habitat, and vital role in Australia’s delicate ecosystem. From its striking appearance and fascinating behaviors to its cultural significance and conservation challenges, we delve into every aspect of the Australian Cassowary’s existence. Join us as we discover the wonders of this ancient avian species and gain a deeper appreciation for the vital importance of safeguarding its habitat and ensuring its survival for generations to come. Let’s explore the magic of the Australian Cassowary and learn how we can all contribute to its preservation and the protection of Australia’s rich biodiversity. 1. Physical Characteristics of the Australian Cassowary A. Description of Size and Weight The Australian Cassowary, also known as the Southern Cassowary (Casuarius casuarius johnsonii), is an awe-inspiring large bird that stands as a true symbol of the rainforest. Towering up to 6.6 feet (2 meters) in height, these flightless birds command attention with their imposing presence. Adult cassowaries are known to weigh between 121 to 167 pounds (55 to 76 kilograms), making them one of the heaviest avian species in the world. With such impressive size and strength, they are well-adapted to maneuvering through their dense rainforest habitat with grace and power. B. Distinctive Features One of the most striking features of the Australian Cassowary is the distinctive casque on top of its head. This casque is a tough, bony growth that protrudes from the bird’s skull, and while its exact purpose remains a subject of scientific debate, it is believed to play a role in vocalization and headbutting during territorial disputes. Moreover, the cassowary’s vivid and iridescent plumage adds to its allure. Their feathers exhibit a brilliant blend of black, blue, and purple hues, making them a truly mesmerizing sight to behold. Such remarkable colors serve not only for aesthetic appeal but also for essential functions like camouflage and species recognition in their dense rainforest environment. C. Sexual Dimorphism in Cassowaries When it comes to sexual dimorphism, male and female Australian Cassowaries display subtle differences in appearance. Females generally are larger than males, and their casques are often more pronounced. Distinguishing the genders based on physical characteristics alone can be challenging due to their overall similarities in appearance. Instead, behavioral cues and mating rituals are often relied upon to identify the sex of these majestic birds accurately. Intriguing and captivating, the Australian Cassowary’s physical characteristics set it apart as a remarkable creature within Australia’s rainforest ecosystem. From their impressive size and weight to the unique casque and vibrant plumage, these magnificent birds truly embody the spirit of the wild, showcasing nature’s wonders in their every feather. 2. Habitat and Distribution of the Australian Cassowary A. Geographic Range in Australia The Australian Cassowary, a magnificent and iconic bird, is native to the northeastern region of Australia. This fascinating species predominantly inhabits the tropical rainforests and dense woodlands of Queensland and parts of northeastern New South Wales. Its range spans from the coastal lowlands to the upland areas, where they find a diverse array of habitats to thrive in. From the pristine coastal forests to the lush mountainous regions, the Australian Cassowary’s presence enriches the biodiversity of this unique corner of the world. B. Preferred Habitats within the Rainforest Within the vast expanse of Australia’s rainforests, the Australian Cassowary exhibits a preference for specific habitats that provide the necessary resources for their survival. They are frequently encountered in areas with dense undergrowth, where they can find ample fruit-bearing trees and shrubs. These fruiting plants serve as a vital food source for the cassowaries, enabling them to disperse seeds across the rainforest floor, contributing significantly to the forest’s regeneration and continuity. Additionally, these awe-inspiring birds are known to traverse various types of terrains, including swampy regions and even mangrove forests, demonstrating their adaptability and resilience in diverse environments. C. Environmental Threats to the Australian Cassowary Habitat Despite their remarkable adaptability, the Australian Cassowary faces a myriad of environmental threats that endanger their habitat and ultimately their survival. One of the most significant challenges they encounter is habitat loss and fragmentation due to human activities. As human populations expand, extensive land clearing for agriculture, urban development, and infrastructure projects encroach upon the cassowary’s natural habitat, disrupting their movement patterns and access to vital food sources. Moreover, road networks often traverse through critical cassowary territory, leading to fatal collisions with vehicles, which pose a severe threat to their population. Furthermore, climate change exacerbates the environmental pressures on the Australian Cassowary. The increasing frequency and intensity of extreme weather events, such as cyclones and droughts, disrupt the delicate balance of the rainforest ecosystem and hinder successful breeding and nesting patterns. 3. Diet and Feeding Habits of the Australian Cassowary A. Omnivorous Nature and Dietary Preferences These magnificent birds display a remarkable preference for both plant and animal matter. Their diet mainly consists of fallen fruits, berries, and seeds from a wide range of rainforest vegetation. Fruits from native plants, such as figs, are particularly favored by cassowaries and play a vital role in their nutrition. Additionally, they also consume leaves, flowers, and fungi, showcasing their adaptability to various food sources available in their habitat. Besides plant-based sustenance, cassowaries occasionally supplement their diet with insects, small vertebrates, and carrion, exhibiting their opportunistic nature as skilled foragers. B. Role of Cassowaries in Seed Dispersal The Australian Cassowary plays a critical role as an ecological engineer, significantly contributing to seed dispersal within the rainforest ecosystem. As they forage for fruits and berries, they inadvertently ingest seeds along with their meal. These seeds then pass through their digestive system, which doesn’t fully break them down, enabling them to be dispersed intact through their feces. This process becomes paramount in maintaining the rich biodiversity of the rainforest as cassowaries roam across extensive territories, spreading seeds to various locations. By acting as seed dispersers, these majestic birds aid in the regeneration and propagation of numerous plant species, ensuring the health and sustainability of the rainforest for generations to come. C. Interactions with Other Species in the Ecosystem In their role as a keystone species, the Australian Cassowary has significant interactions with various other species within the rainforest ecosystem. Their feeding habits and seed dispersal activities positively influence the flora by promoting plant growth and diversity. Moreover, their omnivorous diet allows them to impact insect populations, serving as a natural control mechanism for certain pest species. Cassowaries also contribute to nutrient cycling in the forest floor, enriching the soil with organic matter through their droppings. Furthermore, their presence fosters complex ecological relationships with other inhabitants of the rainforest. While they predominantly lead a solitary lifestyle, cassowaries engage in occasional territorial displays and interactions, shaping the behavior of other animals within their range. For example, some smaller animals may depend on cassowaries’ foraging activities to access fruits and seeds that fall from trees during their feeding, illustrating the interconnectedness of species within the ecosystem. 4. Reproduction and Life Cycle of the Australian Cassowary A. Mating Behaviors and Courtship Rituals During the breeding season, which typically occurs from June to October, male cassowaries actively seek out potential mates. They engage in striking displays, where they puff up their necks and casques, producing resonating booms that reverberate through the rainforest. This vocal prowess is essential in attracting females and asserting dominance among rival males. Female cassowaries carefully assess these displays before choosing a mate, emphasizing the significance of courtship rituals in the species’ reproductive success. Once a pair has formed a bond, they embark on an enchanting journey together, preparing for the nesting phase of their life cycle. B. Nesting and Incubation of Eggs Nesting is a crucial phase in the life cycle of the Australian Cassowary, and it often involves a unique role reversal between males and females. After the female selects a suitable nesting site on the forest floor, she lays several large blue eggs. Once the eggs are laid, her role in the process is complete, and she leaves to find another mate or tend to her own survival. The male, on the other hand, takes on the responsibility of incubating the eggs and constructing a nest using leaves, grass, and other forest debris. During the incubation period, which lasts approximately 50 days, the male diligently tends to the eggs, protecting them from potential threats and maintaining their temperature. This exceptional level of paternal care is a rare and remarkable feature of the Australian Cassowary’s reproductive cycle. C. Parental Care and Survival Challenges for Chicks When the eggs finally hatch, the male’s commitment to parental care continues as he safeguards the young chicks for several months. The chicks are born with striking brown-striped plumage that provides them with some camouflage in the rainforest. During this vulnerable phase, the male guides them through the dense undergrowth, teaching them vital foraging skills and alerting them to potential dangers. Despite the male’s dedicated efforts, the survival challenges for the chicks are numerous. The rainforest poses threats such as predators, such as dingoes and pythons, which are a constant risk to their survival. Additionally, habitat loss and human interference further compound these challenges, underscoring the need for conservation efforts to protect these delicate stages of the Australian Cassowary’s life cycle. 5. The Australian Cassowary and its Importance to Indigenous Cultures A. Symbolic Significance in Aboriginal Legends and Art The Australian Cassowary holds deep-rooted symbolic significance in the rich tapestry of Aboriginal cultures. Revered as a spiritual totem and a symbol of connection to the land, this magnificent bird is intricately woven into ancient legends and art forms. In Aboriginal mythology, the cassowary is often portrayed as a guardian and a source of wisdom, embodying qualities that resonate with the values and beliefs of these indigenous communities. Their unique appearance and enigmatic behavior have inspired intricate artistic representations, adorning rock paintings, and storytelling ceremonies, passed down through generations. The reverence for the Australian Cassowary in Aboriginal cultures highlights the profound relationship between these indigenous communities and the natural world, emphasizing the vital role this species plays in preserving cultural heritage and fostering a deep respect for nature. B. Traditional Uses and Interactions with the Species For countless generations, the Australian Cassowary has played an integral role in the daily lives of Indigenous communities. Their cultural significance extends beyond mere symbolism, as various parts of the cassowary have been traditionally utilized for practical purposes. The feathers, bones, and casques of the cassowary hold value in crafting tools, ceremonial items, and adornments. These birds were also hunted for sustenance, with the meat providing a source of nourishment to the indigenous people. Additionally, their feathers were incorporated into elaborate headdresses and ritual attire, adding a touch of spiritual significance to ceremonies and cultural gatherings. Such traditional interactions demonstrate the harmonious coexistence of humans and the Australian Cassowary, with respect and resourcefulness as the guiding principles. C. Modern-day Conservation Efforts in Collaboration with Indigenous Communities In the face of contemporary conservation challenges, the Australian Cassowary remains an essential focus for both environmentalists and Indigenous communities. Recognizing the significance of this species in maintaining ecological balance and cultural heritage, various conservation efforts have emerged in collaboration with Aboriginal groups. Indigenous knowledge and expertise have been integral in developing sustainable conservation practices that respect the delicate relationship between cassowaries and their habitat. These collaborative initiatives include education programs, habitat restoration projects, and efforts to minimize human-wildlife conflicts. By actively involving Indigenous communities, conservation efforts gain cultural legitimacy and foster a sense of shared responsibility in protecting the species and its habitat. 6. Conservation Status and Threats to the Australian Cassowary A. Evaluation of the Cassowary’s Conservation Status The conservation status of the Australian Cassowary is a matter of concern, reflecting the delicate balance between preserving its unique existence and addressing various threats to its survival. Although classified as “Least Concern” by the International Union for Conservation of Nature (IUCN), this magnificent species still faces challenges in its native rainforest habitats of northeastern Australia. Protective measures are being put in place to further safeguard the cassowary’s population and habitat from mounting pressures posed by human-induced activities and environmental changes. Monitoring and research efforts continue to play a crucial role in evaluating the species’ conservation status, enabling conservationists to devise effective strategies to address the challenges that confront the Australian Cassowary. B. Human-induced Threats, including Habitat Loss and Road Accidents The Australian Cassowary encounters a host of human-induced threats that pose severe risks to its survival. Habitat loss remains one of the most significant challenges, as extensive land clearing for agriculture, urban development, and logging encroaches upon their rainforest home. Fragmentation of their habitat disrupts their movement patterns, hindering access to food sources and reducing breeding opportunities. Another critical threat arises from road accidents, as major highways cut through their territories, leading to fatal collisions with vehicles. The unfortunate combination of habitat loss and road accidents contributes to a decline in the cassowary population, placing immense pressure on their conservation status. Addressing these human-induced threats is imperative to ensure the long-term viability of this remarkable species. C. Ongoing Conservation Initiatives and Success Stories Despite the challenges, dedicated conservation initiatives provide hope for the Australian Cassowary’s future. Collaborative efforts between government agencies, NGOs, and local communities are paving the way for effective conservation strategies. One of the primary focuses is on habitat protection and restoration, creating wildlife corridors and sanctuaries that connect fragmented areas and preserve critical cassowary habitats. Educational programs and awareness campaigns also play a vital role in promoting responsible ecotourism and fostering public support for conservation efforts. Furthermore, success stories from local conservation projects illustrate the positive impact of community involvement. Indigenous communities, recognizing the cultural significance of the cassowary, actively participate in conservation initiatives. Their traditional knowledge and sustainable practices, combined with scientific expertise, enhance the overall effectiveness of conservation efforts. Through collaborative conservation work, communities have contributed to increased awareness and appreciation for the Australian Cassowary, fostering a collective commitment to its preservation. 7. How to Encourage Australian Cassowary Conservation A. Responsible Ecotourism and Visitor Guidelines Encouraging Australian Cassowary conservation starts with promoting responsible ecotourism and implementing visitor guidelines that prioritize the well-being of these magnificent birds and their fragile habitats. Tour operators and visitors alike should adhere to established guidelines that ensure minimal disruption to the cassowaries’ natural behavior and nesting sites. Keeping a respectful distance, refraining from feeding or approaching cassowaries, and avoiding excessive noise are essential practices to protect these creatures and maintain the sanctity of their rainforest environment. By raising awareness about the importance of responsible ecotourism, we can create a sustainable balance between human enjoyment and the conservation of the Australian Cassowary, ensuring that future generations have the opportunity to witness these awe-inspiring birds in their natural habitat. B. Supporting Local Conservation Organizations An essential aspect of encouraging Australian Cassowary conservation is providing support to local conservation organizations dedicated to preserving these incredible creatures and their habitats. These organizations work tirelessly to address the threats facing the cassowaries through habitat restoration, research, and community engagement initiatives. By donating to or volunteering with these groups, individuals can directly contribute to the efforts aimed at protecting and conserving the Australian Cassowary. Additionally, supporting local conservation organizations fosters a sense of collective responsibility among communities, creating a network of passionate individuals committed to safeguarding this iconic species for future generations. C. Promoting Awareness and Education about the Species Raising awareness and promoting education about the Australian Cassowary are vital steps in encouraging its conservation. Through various platforms such as social media, educational workshops, and community events, we can highlight the significance of this bird in the rainforest ecosystem and its cultural importance to Indigenous communities. Understanding the threats facing the cassowaries, such as habitat loss and road accidents, can inspire individuals to take action and support conservation efforts. By fostering a sense of connection and empathy towards these incredible creatures, we can inspire a greater appreciation for nature and the need to protect the Australian Cassowary and its unique habitat. 8. Frequently Asked Questions about the Australian Cassowary What is the Australian Cassowary? The Australian Cassowary, also known as the Southern Cassowary (Casuarius casuarius johnsonii), is a large, flightless bird native to the rainforests of northeastern Australia. It stands out for its striking appearance, vibrant plumage, and unique casque on its head. Why is the Australian Cassowary important? The Australian Cassowary plays a crucial role in the rainforest ecosystem. As an omnivorous bird, it helps disperse seeds across the forest floor through its diet of fruits and berries. This seed dispersal contributes to the regeneration and diversity of plant life in the region, making cassowaries vital to the ecosystem’s health. Are Australian Cassowaries dangerous to humans? While Australian Cassowaries are generally shy and prefer to avoid humans, they can become defensive if they feel threatened. Their sharp claws and powerful legs are capable of inflicting injury if they feel cornered or provoked. It’s important to maintain a safe distance and avoid feeding or approaching these birds in the wild. What is the conservation status of the Australian Cassowary? The Australian Cassowary is listed as “Least Concern” by the International Union for Conservation of Nature (IUCN). However, the species is still vulnerable to threats like habitat loss, road accidents, and climate change, underscoring the need for further conservation efforts to protect their population and habitat. How can I help conserve the Australian Cassowary? There are several ways to contribute to the conservation of the Australian Cassowary. Firstly, support responsible ecotourism and follow visitor guidelines to minimize disturbances in their habitat. Secondly, consider donating to or volunteering with local conservation organizations dedicated to protecting these birds. Lastly, spread awareness about the species and its importance to the rainforest ecosystem, encouraging others to join in conservation efforts. What are the main threats to the Australian Cassowary? The Australian Cassowary faces various threats, primarily stemming from human activities. Habitat loss due to land clearing for agriculture and urban development disrupts their natural environment. Road accidents are another significant threat, as major highways cut through their territories, leading to collisions with vehicles. Additionally, climate change impacts weather patterns and food availability, posing further challenges to their survival. How does the Australian Cassowary contribute to the rainforest ecosystem? The Australian Cassowary plays a crucial role in seed dispersal. By consuming fruits and berries, they ingest seeds that pass through their digestive system undamaged. As they roam the rainforest, they spread these seeds through their feces, aiding in the regeneration and propagation of various plant species, which is essential for the health and diversity of the ecosystem. Can I keep an Australian Cassowary as a pet? No, keeping an Australian Cassowary as a pet is illegal and strongly discouraged. These birds are wild animals and require specific habitats and care that cannot be adequately provided in captivity. Attempting to keep them as pets can be harmful to both the bird and the owner and is against conservation laws. How can I identify a male and female Australian Cassowary? Identifying the gender of Australian Cassowaries based on physical characteristics alone can be challenging. Are there any cultural connections between the Australian Cassowary and Indigenous communities? Yes, the Australian Cassowary holds significant cultural importance in Aboriginal legends, art, and traditions. It is considered a spiritual totem and symbolizes wisdom and connection to the land. Indigenous communities have traditionally used various parts of the cassowary for tools and ceremonial items, demonstrating a long-standing relationship between these communities and the species. In summary, the Australian Cassowary stands as a captivating and vital symbol of Australia’s rainforests. With its majestic appearance, diverse diet, and crucial role in seed dispersal, this unique bird plays an indispensable part in maintaining the delicate balance of the ecosystem. Although classified as a “Least Concern” by the IUCN, the species still faces threats from habitat loss, road accidents, and climate change, and therefore, conserving the Australian Cassowary is of utmost importance. By promoting responsible ecotourism, supporting local conservation organizations, and raising awareness about its significance, we can secure a sustainable future for this awe-inspiring species. Preserving the Australian Cassowary ensures not only the continuity of its ancient cultural significance but also the health and diversity of the rainforest, leaving a lasting legacy for generations to come.

<urn:uuid:2642d56d-41bf-411f-8e60-297415397eae>

CC-MAIN-2023-40

https://animalbehaviorcorner.com/australian-cassowary-behavior/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510481.79/warc/CC-MAIN-20230929022639-20230929052639-00580.warc.gz

en

There are many ways to use best ai tools for students. Here are a few examples: - To help you study and learn. AI tools can be used to create personalized learning plans, generate practice questions, and provide feedback on your work. - To help you stay organized and manage your time. AI tools can be used to create to-do lists, set reminders, and track your progress. For example, the AI-powered productivity app Evernote can help you organize your notes, documents, and ideas. - To help you research and find information. AI tools can be used to search for information, filter out irrelevant results, and summarize complex topics. For example, the AI-powered search engine Google Scholar can help you find academic papers on a variety of topics. - To help you create and collaborate on projects. AI tools can be used to generate ideas, create presentations, and collaborate with others on projects. For example, the AI-powered creative writing tool Grammarly can help you improve your writing by identifying grammar errors and style issues. - To help you prepare for exams. AI tools can be used to create practice exams, simulate real-world test conditions, and provide feedback on your performance. For example, the AI-powered test prep platform Kaplan can help you prepare for standardized tests like the SAT and ACT. Table of Content:- - Here are some tips for using AI tools responsibly as a student: - 1. Gradescope - 2. ReadCube Papers – Elevating Your Research Experience - 3. Speechify – Unlocking the Power of Audio Learning and Accessibility - 4. StepWise Math – Mastering Mathematics Made Easier - 5. Grammarly – Elevate Your Writing to Perfection - 6. ChatGPT - 7. Google Bard These are just a few of the many ways that AI tools can be used by students. As AI technology continues to develop, we can expect to see even more ways to use AI to enhance the learning experience. Here are some tips for using AI tools responsibly as a student: - Be aware of the limitations of AI tools. AI tools are not perfect and can sometimes make mistakes. It is important to use them in conjunction with other resources and to be critical of the information they provide. - Be mindful of the potential biases of AI tools. AI tools are trained on data that is created by humans, and this data can reflect human biases. It is important to be aware of these biases and to critically evaluate the output of AI tools. - Use AI tools ethically. AI tools should not be used to cheat or to plagiarize. They should be used to help students learn and to improve their understanding of the material. Gradescope is a powerful and innovative platform that has proven to be a game-changer for educators and students alike. As an AI-powered grading and assessment tool, Gradescope streamlines the grading process, enhances feedback quality, and provides valuable insights into student performance. Having used Gradescope extensively, I can confidently say that it’s a versatile tool with numerous benefits. One of the standout features of Gradescope is its ability to handle various types of assessments. Whether it’s multiple-choice questions, short answers, coding assignments, or even handwritten responses, Gradescope’s AI-driven algorithms can interpret and evaluate them accurately. This versatility is a huge advantage for instructors who deal with a diverse range of subjects and assignments. From a student’s perspective, submitting assignments on Gradescope is straightforward and user-friendly. The platform provides an efficient way to upload work digitally, and for handwritten assignments, the option to scan and upload is seamless. Moreover, the prompt feedback offered by Gradescope’s AI is invaluable. It pinpoints areas of improvement and highlights common mistakes, helping students understand their errors and rectify them. As an instructor, the time-saving aspect of Gradescope cannot be overstated. The traditional process of manual grading is replaced with a streamlined digital workflow. The tool’s AI assists in the initial grading, which can then be reviewed and adjusted by the instructor. This significantly reduces the grading time, allowing educators to focus more on providing insightful feedback and engaging with students. The rubric creation and customization feature is another boon for educators. Gradescope enables the creation of detailed rubrics that align with the learning objectives of the assignments. This ensures consistency in grading and provides a transparent assessment process for students. In terms of improvement, while Gradescope’s AI is impressive, there may be occasional instances where it misinterprets or misgrades complex answers. However, the ability to manually review and adjust grades mitigates this concern. Gradescope also offers comprehensive analytics on student performance. Instructors can gain insights into class averages, question-level performance, and identify common misconceptions. This data-driven approach empowers educators to fine-tune their teaching strategies and address areas of difficulty effectively. In conclusion, Gradescope has redefined the grading and assessment landscape by seamlessly integrating AI technology into education. Its user-friendly interface, robust assessment capabilities, and time-saving features make it an invaluable tool for both educators and students. While no tool is without minor drawbacks, the overall benefits that Gradescope brings to the table make it a must-have for any educational institution aiming to enhance the learning experience and streamline the grading process. Website Link: https://www.gradescope.com/ 2. ReadCube Papers – Elevating Your Research Experience In the digital age, managing and organizing research materials is an essential skill for academics, researchers, and students. Enter ReadCube Papers, an innovative platform designed to streamline the research process and transform the way you engage with scholarly content. Having explored its features extensively, I’m excited to share my review of ReadCube Papers and how it can elevate your research experience to new heights. Sleek and Intuitive Design One of the first things that struck me about ReadCube Papers is its user-friendly interface. The platform boasts a sleek and intuitive design that facilitates easy navigation, making it ideal for both seasoned researchers and those new to the world of academic literature. The clean layout ensures that you can focus on your research without being overwhelmed by unnecessary clutter. Effortless Organization and Management Say goodbye to the days of scattered PDFs and endless folders. ReadCube Papers empowers you to organize and manage your research library with remarkable efficiency. The platform’s library management tools allow you to import and categorize research articles seamlessly. The integrated search feature enables you to find specific papers swiftly, saving you valuable time and ensuring that no vital source goes unnoticed. Annotation and Collaboration Made Simple Collaborative research projects become a breeze with ReadCube Papers. The annotation tools enable you to highlight, underline, and add notes to PDFs directly within the platform. This feature is particularly useful for group discussions and joint research endeavors, as it fosters effective communication and idea-sharing. Moreover, the ability to generate and share clickable links to specific highlights adds an extra layer of convenience to collaboration. Discover and Stay Updated Staying up to date with the latest research is essential in any field. ReadCube Papers simplifies this process through its automated article recommendations. By analyzing your library and preferences, the platform suggests relevant articles that you might find insightful. This feature not only broadens your knowledge base but also keeps you informed about the most recent developments in your area of interest. Seamless Citation Management The hassles of proper citation can be a headache for researchers. ReadCube Papers alleviates this concern by integrating citation management tools. The platform supports various citation styles, making it a valuable asset whether you’re writing an academic paper, thesis, or any other research-related document. Room for Improvement While ReadCube Papers excels in many aspects, there are a few areas where it could further enhance the user experience. Expanding the integration with popular reference managers and improving the mobile app’s functionality would undoubtedly elevate the platform even more. Final Verdict: Elevating Your Research Journey In the grand tapestry of research, ReadCube Papers emerges as a vibrant thread that weaves together efficiency, organization, and collaboration. Its user-friendly interface, intuitive features, and robust annotation tools empower researchers to delve deeper into their work while fostering effective collaboration. While there’s always room for growth, ReadCube Papers undeniably stands out as a platform that can redefine how we interact with scholarly literature. Embrace it, and watch your research experience reach new heights of productivity and engagement. It is a best ai tools for students. Website Link: https://www.papersapp.com/ 3. Speechify – Unlocking the Power of Audio Learning and Accessibility In a world where information is abundant but time is scarce, finding efficient ways to consume content is paramount. Enter Speechify, a best ai tools for students that transforms written text into spoken words, making learning and accessibility more engaging and accessible. Having delved into the capabilities of Speechify, I’m thrilled to share my review of how this innovative tool can redefine your learning experience and level the playing field for all. One of the most remarkable aspects of Speechify is its commitment to accessibility. This platform opens doors for individuals with visual impairments, learning disabilities, or simply those who prefer auditory learning. By converting written text into spoken audio, Speechify enables everyone to engage with content effortlessly, fostering a more inclusive learning environment. Seamless Text-to-Speech Conversion Speechify’s text-to-speech technology is nothing short of impressive. The platform reads aloud various types of content, including textbooks, articles, PDFs, and more. The natural-sounding voice and adjustable playback speed allow you to tailor the experience to your preferences, making learning an even more enjoyable and personalized endeavor. Transforming Learning On the Go The convenience of audio learning cannot be overstated, especially in today’s fast-paced world. Speechify’s mobile app takes this convenience a step further, allowing you to learn while commuting, exercising, or performing other tasks. This transforms idle moments into valuable learning opportunities, enabling you to absorb knowledge effortlessly. Enhancing Productivity and Multitasking Speechify isn’t just for students; professionals can also harness its power to boost productivity. Imagine turning your commute into a time of skill enhancement or catching up on industry-related articles while cooking. The ability to multitask and absorb information simultaneously can be a game-changer for those with busy schedules. Personalized Learning Experience With Speechify, customization is at your fingertips. You can highlight text to focus on specific sections for conversion, making revision or study sessions more targeted. The platform also integrates with various content sources, ensuring that the material you need is readily available for audio conversion. Room for Improvement While Speechify offers a remarkable learning experience, there’s always room for growth. Expanding the range of supported languages and dialects, as well as refining the punctuation and intonation of the generated speech, could enhance the overall experience even further. Final Verdict: Embrace the Power of Your Ears In a world where time and accessibility are precious commodities, Speechify emerges as a beacon of innovation. Its ability to convert written text into spoken words not only redefines how we learn but also ensures that learning is accessible to everyone. The platform’s commitment to customization, convenience, and inclusion sets it apart as a tool that can revolutionize education, productivity, and accessibility. So, whether you’re a student striving for efficient study sessions, a professional aiming to stay ahead of the curve, or someone seeking equal access to information, Speechify invites you to embrace the power of your ears and embark on a transformative learning journey. Website Link: https://speechify.com/ 4. StepWise Math – Mastering Mathematics Made Easier Navigating the realm of mathematics can be a challenging journey, filled with complex equations, intricate concepts, and a need for precise problem-solving skills. Fortunately, there’s a guiding light that’s revolutionizing the way students approach math education: StepWise Math. In this review, we’ll delve into the features and benefits of StepWise Math, a platform designed to transform your math learning experience and empower you to conquer even the most daunting math challenges. Unlocking Conceptual Understanding StepWise Math takes a refreshing approach to math education by focusing on conceptual understanding rather than rote memorization. The platform believes in the power of comprehending the “why” behind mathematical concepts. This empowers students to build a strong foundation, enabling them to tackle a wide range of problems with confidence. Interactive and Adaptive Learning One of the standout features of StepWise Math is its interactive and adaptive learning environment. The platform provides personalized lessons and practice problems that adjust to your skill level and progress. This ensures that you’re always engaged at the right level of challenge, fostering a dynamic learning experience. Navigating through complex math problems can often feel like traversing a maze. StepWise Math acts as your personal guide, breaking down problems into manageable steps. The platform not only provides the solution but also explains each step along the way. This approach not only helps you arrive at the right answer but also equips you with problem-solving strategies. One of the most common questions students have is, “When will I use this in real life?” StepWise Math addresses this concern by showcasing the practical applications of mathematical concepts. By understanding how math is intertwined with various fields, from science to finance, you gain a deeper appreciation for its relevance beyond the classroom. Instant Feedback and Progress Tracking The instant feedback mechanism offered by StepWise Math is a game-changer. As you work through problems, you receive immediate feedback on your solutions, helping you identify areas of improvement. The platform also offers progress tracking, allowing you to monitor your growth and celebrate your achievements. Room for Improvement While StepWise Math offers a comprehensive and engaging learning experience, there’s always room for enhancements. Expanding the range of math topics covered and incorporating more interactive elements, such as quizzes and challenges, could further enrich the learning journey. Final Verdict: Empowering Math Mastery StepWise Math emerges as a beacon of innovation in the realm of math education. Its focus on conceptual understanding, guided problem-solving, and adaptive learning ensures that students not only conquer math challenges but also develop a deep appreciation for the subject. Whether you’re a student seeking to ace exams, a professional aiming to enhance analytical skills, or anyone interested in mastering mathematics, StepWise Math invites you to embark on a journey that transcends formulas and equations, leading you toward genuine math mastery. Website Link: https://stepwisemath.ai/ 5. Grammarly – Elevate Your Writing to Perfection In the digital age, effective communication is more crucial than ever, whether it’s in academic papers, professional emails, or everyday conversations. Enter Grammarly, a powerful AI-driven tool or best ai tools for students that promises to enhance your writing by eliminating errors and refining your language. In this review, we’ll delve into the features and benefits of Grammarly, best ai tools for students that’s become a staple for writers seeking to elevate their written communication to perfection. Unparalleled Proofreading Accuracy Grammarly’s flagship feature lies in its unmatched ability to detect grammar, spelling, punctuation, and even contextual errors. Grammarly best ai tools for students that meticulously combs through your text, offering real-time suggestions to rectify mistakes and enhance the clarity of your writing. This feature alone is a game-changer for anyone striving for error-free content. Enhanced Vocabulary and Style Beyond correcting errors, Grammarly provides suggestions to improve the style, tone, and overall impact of your writing. Its vocabulary enhancement feature offers synonyms and contextually appropriate word choices, enabling you to craft more compelling and articulate sentences. Customized Writing Insights Grammarly doesn’t just correct your mistakes; it educates you about them. The platform provides explanations for its suggestions, helping you understand the rules and principles of effective writing. This personalized learning approach empowers you to become a more confident and skilled writer over time. Adaptable for Different Writing Styles Whether you’re crafting a formal research paper, a casual blog post, or an engaging social media update, Grammarly adapts to your writing style. The platform’s ability to cater to various genres ensures that your content remains polished and consistent, regardless of the context. Seamless Integration and Accessibility Grammarly’s integration with popular writing platforms and browsers ensures that its assistance is always within reach. From Microsoft Word to web browsers like Google Chrome, you can receive real-time feedback and suggestions as you type. This accessibility ensures that your writing remains impeccable across different platforms. Room for Improvement While Grammarly is undoubtedly a powerhouse, there are areas where improvements could be made. Occasionally, the tool might misinterpret the context and offer suggestions that don’t align with the writer’s intent. Additionally, expanding the range of writing style recommendations could enhance the platform’s versatility. Final Verdict: Your Writing’s Best Friend Grammarly best ai tools for students that emerges as a loyal companion for writers of all kinds. Its ability to enhance your writing through error detection, vocabulary enhancement, and style suggestions is unparalleled. Whether you’re a student striving for polished essays, a professional aiming to craft persuasive reports, or anyone seeking to communicate more effectively, Grammarly is your trusty sidekick on the journey toward impeccable writing. With its seamless integration, educational insights, and dedication to perfection, Grammarly proves itself as an indispensable tool in the modern writer’s toolkit. Website Link: https://www.grammarly.com/ ChatGPT can be a helpful best ai tools for students in a number of ways. Here are a few examples: - To get help with homework and assignments. ChatGPT can be used to generate practice questions, provide feedback on your work, and help you understand difficult concepts. For example, you could ask ChatGPT to “explain the concept of gravity” or “generate 10 practice questions on the Pythagorean theorem.” - To get writing help. ChatGPT can be used to proofread your writing, provide feedback on your style, and help you come up with new ideas. For example, you could ask ChatGPT to “edit my essay on the causes of the French Revolution” or “generate a thesis statement for my paper on climate change.” - To research topics. ChatGPT can be used to search for information on a variety of topics and summarize complex concepts. For example, you could ask ChatGPT to “summarize the history of the civil rights movement” or “find 5 credible sources on the effects of climate change.” - To brainstorm ideas. ChatGPT can be used to generate new ideas and help you come up with creative solutions to problems. For example, you could ask ChatGPT to “help me brainstorm ideas for a new business” or “generate a list of marketing strategies for my product.” - To learn new things. ChatGPT can be used to learn about a variety of topics, from history and science to literature and philosophy. For example, you could ask ChatGPT to “tell me about the life of Albert Einstein” or “explain the theory of relativity.” Here are some tips for using ChatGPT effectively as a student: - Be clear and specific in your prompts. The more specific you are, the better ChatGPT will be able to understand what you are asking. - Use follow-up questions to get the information you need. If ChatGPT does not give you the answer you are looking for, try asking follow-up questions to clarify your request. - Be aware of the limitations of ChatGPT. ChatGPT is not a human tutor and it cannot replace the need for studying and learning. Overall, ChatGPT can be a valuable ai tool for students. However, it is important to use it responsibly and to be aware of its limitations Website Link: https://chat.openai.com/ 7. Google Bard Google Bard is a best ai tools for students, also known as a conversational AI or chatbot trained to be informative and comprehensive. How I can rank my website on Google. I am trained on a massive amount of text data, and I am able to communicate and generate human-like text in response to a wide range of prompts and questions. For example, I can provide summaries of factual topics or create stories. Google Bard can be a best ai tools for students in a number of ways. Here are a few examples: - To get help with homework and assignments. Google Bard can be used to generate practice questions, provide feedback on your work, and help you understand difficult concepts. For example, you could ask Google Bard to “explain the concept of gravity” or “generate 10 practice questions on the Pythagorean theorem.” - To get writing help. Google Bard can be used to proofread your writing, provide feedback on your style, and help you come up with new ideas. For example, you could ask Google Bard to “edit my essay on the causes of the French Revolution” or “generate a thesis statement for my paper on climate change.” - To research topics. Google Bard best ai tools for students that can be used to search for information on a variety of topics and summarize complex concepts. For example, you could ask Google Bard to “summarize the history of the civil rights movement” or “find 5 credible sources on the effects of climate change.” - To brainstorm ideas. Google Bard best ai tools for students that can be used to generate new ideas and help you come up with creative solutions to problems. For example, you could ask Google Bard to “help me brainstorm ideas for a new business” or “generate a list of marketing strategies for my product.” - To learn new things. Google Bard best ai tools for students that can be used to learn about a variety of topics, from history and science to literature and philosophy. For example, you could ask Google Bard to “tell me about the life of Albert Einstein” or “explain the theory of relativity.” Here are some tips for using Google Bard effectively as a student: - Be clear and specific in your prompts. The more specific you are, the better Google Bard will be able to understand what you are asking. - Use follow-up questions to get the information you need. If Google Bard does not give you the answer you are looking for, try asking follow-up questions to clarify your request. - Be aware of the limitations of Google Bard. Google Bard is not a human tutor and it cannot replace the need for studying and learning. Overall, Google Bard can be a valuable tool for students. However, it is important to use it responsibly and to be aware of its limitations. Here are some specific examples of how Google Bard can be used by students: - A student can use Google Bard best ai tools for students that get help with their homework by asking questions about specific concepts or problems. - A student can use Google Bard to get feedback on their writing by asking Google Bard to proofread their essays or papers. - A student can use Google Bard to research a topic by asking Google Bard to summarize articles or books on the topic. - A student can use Google Bard to brainstorm ideas for a project by asking Google Bard to generate lists of possible solutions or ideas. - A student can use Google Bard to learn about a new topic by asking Google Bard to provide information on the topic. ai tools for education ai tools for education ai tools for education

<urn:uuid:a37cd2fc-a708-47b4-a47c-9fc4ae511ffb>

CC-MAIN-2023-40

https://www.bnlite.com/top-7-best-ai-artificial-intelligent-tools-for-students/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506658.2/warc/CC-MAIN-20230924155422-20230924185422-00381.warc.gz

en

The picaresque novel (Spanish: picaresca, from pícaro, for "rogue" or "rascal") is a genre of prose fiction. It depicts the adventures of a roguish but "appealing hero," usually of low social class, who lives by his wits in a corrupt society. Picaresque novels typically adopt a realistic style. There are often some elements of comedy and satire. While the term "picaresque novel" was only coined in 1810, the picaresque novel originated in Imperial Rome during the first-second century C.E., in particular with works such as the Satyricon of Petronius and later, and more particularly with authors such as Apuleius in Roman Numidia. It would see a revival in Spain during the Spanish Golden Age in 1554. Early Spanish contributors included Mateo Alemán and Francisco de Quevedo, who were influenced in particular by Apuleius' second century work. Other notable ancient influences of the modern picaresque genre include Roman playwrights such as Plautus and Terence. According to the traditional view of Thrall and Hibbard (first published in 1936), seven qualities distinguish the picaresque novel or narrative form, all or some of which an author may employ for effect: These seven defining features are: - A picaresque narrative is usually written in first person as an autobiographical account. - The main character is often of low character or social class. They get by with wits and rarely deign to hold a job. - There is little or no plot. The story is told in a series of loosely connected adventures or episodes. - There is little if any character development in the main character. Once a pícaro, always a pícaro. Their circumstances may change but these rarely result in a change of heart. - The pícaro's story is told with a plainness of language or Realism. - Satire is sometimes a prominent element. - The behavior of a picaresque protagonist stops just short of criminality. Carefree or immoral rascality positions the picaresque hero as a sympathetic outsider, untouched by the false rules of society. In the English-speaking world, the term "picaresque" is often used loosely to refer to novels that contain some elements of this genre; e.g. an episodic recounting of adventures on the road. The term is also sometimes used to describe works which only contain some of the genre's elements, such as Cervantes' Don Quixote, or Charles Dickens' Pickwick Papers. The word pícaro first starts to appear in Spain with the current meaning in 1545, though at the time it had no association with literature. The word pícaro does not appear in Lazarillo de Tormes (1554), the novella credited by modern scholars with founding the genre. The expression picaresque novel was coined in 1810. Its validity as a generic label in the Spanish sixteenth and seventeenth centuries—Cervantes certainly used "picaresque" with a different meaning than it has today—has been called into question. There is unresolved debate within Hispanic studies about what the term means, or meant, and which works were, or should be included. The only work clearly called "picaresque" by its contemporaries was Mateo Alemán's Guzmán de Alfarache (1599), which to them was the Libro del pícaro (The Book of the Pícaro). Lazarillo de Tormes While elements of Chaucer and Boccaccio have a picaresque feel and may have contributed to the style, the modern picaresque begins with Lazarillo de Tormes. It was published anonymously in 1554 in Burgos, Medina del Campo, and Alcalá de Henares in Spain, and also in Antwerp, which at the time was under Spanish rule as a major city in the Spanish Netherlands. It is variously considered either the first picaresque novel or at least the antecedent of the genre. The protagonist, Lázaro, lives by his wits in an effort to survive and succeed in an impoverished country full of hypocrisy. As a pícaro character, he is an alienated outsider, whose ability to expose and ridicule individuals compromised within society gives him a revolutionary stance. Lázaro states that the motivation for his writing is to communicate his experiences of overcoming deception, hypocrisy, and falsehood (engaño.) The character type draws on elements of characterization already present in Roman literature, especially Petronius' Satyricon. Lázaro shares some of the traits of the central figure of Encolpius, a former gladiator, though it is unlikely that the author had access to Petronius' work. From the comedies of Plautus, Lazarillo borrows the figure of the parasite and the supple slave. Other traits are taken from Apuleius' The Golden Ass. The Golden Ass and Satyricon are rare surviving samples of the "Milesian tale," a popular genre in the classical world. They were revived and widely read in Renaissance Europe. The principal episodes of Lazarillo are based on Arabic folktales that were well known to the Moorish inhabitants of Spain. The Arabic influence may account for the negative portrayal of priests and other church officials in Lazarillo. Arabic literature, which was read widely in Spain in the time of Al-Andalus and possessed a literary tradition with similar themes, is thus another possible influence on the picaresque style. Al-Hamadhani (d.1008) of Hamadhan (Iran) is credited with inventing the literary genre of maqamat in which a wandering vagabond makes his living on the gifts his listeners give him following his extemporaneous displays of rhetoric, erudition, or verse, often done with a trickster's touch. Ibn al-Astarkuwi or al-Ashtarkuni (d.1134) also wrote in the genre maqamat, comparable to later European picaresque. The curious presence of Russian loanwords in the text of the Lazarillo also suggests the influence of medieval Slavic tales of tricksters, thieves, itinerant prostitutes, and brigands, who were common figures in the impoverished areas bordering on Germany to the west. After diplomatic ties to Germany and Spain were established under the emperor Charles V, these tales began to be read in Italian translations in the Iberian Peninsula. As narrator of his own adventures, Lázaro seeks to portray himself as the victim of both his ancestry and his circumstance. This means of appealing to the compassion of the reader would be directly challenged by later picaresque novels such as Guzmán de Alfarache (1599/1604) and El Buscón (composed in the first decade of the seventeenth century and first published in 1626) because the idea of determinism used to cast the pícaro as a victim clashed with the Counter-Reformation doctrine of free will. Other initial works An early example is Mateo Alemán's Guzmán de Alfarache (1599), characterized by religiosity. Guzmán de Alfarache is a fictional character who lived in San Juan de Aznalfarache, Seville, Spain. Francisco de Quevedo's El Buscón (1604 according to Francisco Rico; although the exact date is uncertain, it was certainly a very early work) is considered the masterpiece of the subgenre by A. A. Parker, because of his baroque style and the study of the delinquent psychology. However, a more recent school of thought, led by Francisco Rico, rejects Parker's view, contending instead that the protagonist, Pablos, is a highly unrealistic character, simply a means for Quevedo to launch classist, racist and sexist attacks. Rico argues that the structure of the novel is radically different from previous works of the picaresque genre, claiming that Quevedo uses the conventions of the picaresque as a mere vehicle to show off his abilities with conceit and rhetoric, rather than to construct a satirical critique of Spanish Golden Age society. Miguel de Cervantes wrote several works "in the picaresque manner, notably Rinconete y Cortadillo (1613) and El coloquio de los perros (1613; “Colloquy of the Dogs”)". "Cervantes also incorporated elements of the picaresque into his greatest novel, Don Quixote (1605, 1615)", the "single most important progenitor of the modern novel", that literary critic M. H. Abrams has described as a "quasi-picaresque narrative." Cervantes' hero is not a rogue but a foolish knight. In order to understand the historical context that led to the development of these paradigmatic picaresque novels in Spain during the sixteenth and seventeenth centuries, it is essential to take into consideration the circumstances surrounding the lives of conversos, whose ancestors had been Jewish, and whose Christian faith was subjected to close scrutiny and mistrust. In other European countries, these Spanish novels were read and imitated. In Germany, Hans Jakob Christoffel von Grimmelshausen wrote Simplicius Simplicissimus (1669), the most important of non-Spanish picaresque novels. It describes the devastation caused by the Thirty Years' War. Grimmelshausen's novel has been called an example of the German abenteuerroman ("adventure novel.") The abenteuerroman is Germany's version of the picaresque novel. It is an "entertaining story of the adventures of the hero, but there is also often a serious aspect to the story." Alain-René Le Sage's Gil Blas (1715) is a classic example of the genre, which in France had declined into an aristocratic adventure. In Britain, the first example is Thomas Nashe's The Unfortunate Traveller (1594) in which a court page, Jack Wilson, exposes the underclass life in a string of European cities through lively, often brutal descriptions. The body of Tobias Smollett's work, and Daniel Defoe's Moll Flanders (1722) are also considered picaresque, but they lack the sense of religious redemption of delinquency that was very important in Spanish and German novels. The triumph of Moll Flanders is more economic than moral. While the mores of the early eighteenth century wouldn't permit Moll to be an actual heroine, Defoe hardly disguises his admiration for her resilience and resourcefulness. Works with some picaresque elements The autobiography of Benvenuto Cellini, written in Florence beginning in 1558, also has much in common with the picaresque. The classic Chinese novel Journey to the West is considered to have considerable picaresque elements. Written in 1590, it is contemporary with much of the picaresque tradition, but is unlikely to have been directly influenced by the European genre. Eighteenth and nineteenth centuries Henry Fielding proved his mastery of the form in Joseph Andrews (1742), The Life and Death of Jonathan Wild, the Great (1743) and The History of Tom Jones, a Foundling (1749), though Fielding attributed his style to an "imitation of the manner of Cervantes, author of Don Quixote." William Makepeace Thackeray is the master of the nineteenth-century English picaresque. Like Moll Flanders, Thackeray's best-known work, Vanity Fair: A Novel Without a Hero (1847-1848)—a title ironically derived from John Bunyan's Puritan allegory of redemption The Pilgrim's Progress (1678)—follows the career of fortune-hunting adventuress Becky Sharp. His earlier novel The Luck of Barry Lyndon (1844) recounts the rise and fall of an Irish arriviste conniving his way into the eighteenth-century English aristocracy. Aleko Konstantinov wrote the 1895 novel Bay Ganyo about the eponymous Bulgarian rogue. The character conducts business of uneven honesty around Europe before returning home to get into politics and newspaper publishing. Bay Ganyo is a well-known stereotype in Bulgaria. Works influenced by the picaresque In the English-speaking world, the term "picaresque" has referred more to a literary technique or model than to the precise genre that the Spanish call picaresco. The English-language term can simply refer to an episodic recounting of the adventures of an anti-hero on the road. Laurence Sterne's The Life and Opinions of Tristram Shandy, Gentleman (1761-1767) and A Sentimental Journey Through France and Italy (1768) each have strong picaresque elements. Voltaire's French novel Candide (1759) contains elements of the picaresque. An interesting variation on the tradition of the picaresque is The Adventures of Hajji Baba of Ispahan (1824), a satirical view on early nineteenth-century Persia, written by a British diplomat, James Morier. Elements of the picaresque novel are found in Charles Dickens' The Pickwick Papers (1836–37). Nikolai Gogol occasionally used the technique, as in Dead Souls (1842–52). Mark Twain's Adventures of Huckleberry Finn (1884) also has some elements of the picaresque novel. Twentieth and twenty-first centuries Jaroslav Hašek's The Good Soldier Švejk (1923) is an example of a work from Central Europe that has picaresque elements. Further east, Kvachi Kvachantiradze is a novel written by Mikheil Javakhishvili in 1924. It is the story of a swindler, a Georgian Felix Krull, or perhaps a cynical Don Quixote, named Kvachi Kvachantiradze: womanizer, cheat, perpetrator of insurance fraud, bank-robber, associate of Rasputin, filmmaker, revolutionary, and pimp. The Twelve Chairs (1928) and its sequel, The Little Golden Calf (1931), by Ilya Ilf and Yevgeni Petrov (together known as Ilf and Petrov) became classics of twentieth-century Russian satire and the basis for numerous film adaptations. Camilo José Cela's La familia de Pascual Duarte (1942), Ralph Ellison's Invisible Man (1952) and The Adventures of Augie March by Saul Bellow (1953) were also among mid-twentieth-century picaresque literature. John A. Lee's Shining with the Shiner (1944) tells amusing tales about New Zealand folk hero Ned Slattery (1840–1927) surviving by his wits and beating the 'Protestant work ethic'. So too is Thomas Mann's Confessions of Felix Krull (1954), which like many novels emphasizes the theme of a charmingly roguish ascent in the social order. Günter Grass's The Tin Drum (1959) is a German picaresque novel. John Barth's The Sot-Weed Factor (1960) is a picaresque novel that parodies the historical novel and uses black humor by intentionally incorrectly using literary devices. Other 1960s and 1970s examples include Jerzy Kosinski's The Painted Bird (1965), Vladimir Voinovich's The Life and Extraordinary Adventures of Private Ivan Chonkin (1969), and Arto Paasilinna's The Year of the Hare (1975). Examples from the 1980s include John Kennedy Toole's novel A Confederacy of Dunces, which was published in 1980, eleven years after the author's suicide, and won the 1981 Pulitzer Prize for Fiction. It follows the adventures of Ignatius J. Reilly, a well-educated but lazy and obese slob, as he attempts to find stable employment in New Orleans and meets many colorful characters along the way. Later examples include Umberto Eco's Baudolino (2000), and Aravind Adiga's The White Tiger (Booker Prize 2008). In contemporary Latin American narrative, there are Manuel Rojas' Hijo de ladrón (1951), Joaquín Edwards' El roto (1968), Elena Poniatowska's Hasta no verte Jesús mío (1969), Luis Zapata's Las aventuras, desventuras y sueños de Adonis García, el vampiro de la colonia Roma (1978) and José Baroja's Un hijo de perra (2017), among others. The Golden Ass of Apuleius remains, according to many scholars such as F. W. Chandler, A. Marasso, T. Somerville and T., the primary influence for the modern Picaresque genre. Subsequently, after the revival in Spain, the genre flourished throughout Europe for more than 200 years for the first time since the Roman period. It continues to influence modern literature. William S. Burroughs was a devoted fan of picaresque novels, and gave a series of lectures involving the topic in 1979 at Naropa University in Colorado. He says it is impossible to separate the anti-hero from the picaresque novel, that most of these are funny, and they all have protagonists who are outsiders by their nature. His list of picaresque novels includes Petronius' novel Satyricon (54–68 C.E.), The Unfortunate Traveller (1594) by Thomas Nashe, both Maiden Voyage (1943) and A Voice Through a Cloud (1950) by Denton Welch, Two Serious Ladies (1943) by Jane Bowles, Death on Credit (1936) by Louis-Ferdinand Céline, and even himself. In 1987 an Italian comedy film written and directed by Mario Monicelli was released under the Italian title I picari. It was co-produced with Spain, where it was released as Los alegres pícaros, and internationally as The Rogues. Starring Vittorio Gassman, Nino Manfredi, Enrico Montesano, Giuliana De Sio and Giancarlo Giannini, the film is freely inspired by the Spanish novels Lazarillo de Tormes and Guzman de Alfarache. - William Thrall and Addison Hibbard, A Handbook to Literature (New York, NY: The Odyssey Press, 1960). - "picaresque," Cambridge Dictionary. Retrieved Jun 25, 2023. - O.F. Best, "Para la etimología de pícaro," Nueva Revista de Filología Hispánica 17(3/4) (1963/1964): 352–357. Retrieved June 23, 2023. - Felix Rodríguez González, Spanish Loanwords in the English Language: a tendency towards hegemony reversal (Leiden, N.L.: Walter de Gruyter, 1996, ISBN 978-3110148459), 36. Retrieved June 23, 2023. - Daniel Eisenberg, "Does the Picaresque Novel Exist?" Kentucky Romance Quarterly (26) (1979): 203–219. Retrieved June 25, 2023. - Seán Ó Neachtain, The History of Éamon O'Clery, trans. William Mohan (Inverin, IR: Clo Iar-Chonnacht, 2000, ISBN 978-1902420356), 6. Retrieved June 25, 2023. - Harriet Turner and Adelaida López de Martínez, The Cambridge Companion to the Spanish Novel: From 1600 to the Present (Cambridge, U.K.: Cambridge University Press, 2003, ISBN 978-0521778152), 15. Retrieved June 23, 2023. - Anne J. Cruz, Approaches to teaching Lazarillo de Tormes and the picaresque tradition (New York, NY: Modern Language Association of America, 2008, ISBN 978-1603290166), 19. Retrieved June 23, 2023. ("The pícaro's revolutionary stance, as an alienated outsider who nevertheless constructs his own self and his world.") - Alfred J. MacAdam, Textual confrontations: comparative readings in Latin American literature (Chicago, IL: University of Chicago Press, 1987, ISBN 9780226499901), 138. Retrieved June 23, 2023. - Henry John Chaytor, La vida de Lazarillo de Tormes (The University Press, 1922), vii. Retrieved June 23, 2023. - Lazarillo de Tormes, The life of Lazarillo de Tormes: his fortunes and adversities trans. William Stanley Merwin (New York, NY: Doubleday, 1962), 18. Retrieved June 23, 2023. - René Martin, Le Satyricon: Pétrone (Jackson Heights, NY: Ellipsis Press, 1999, ISBN 978-2729878092), 105. Retrieved June 23, 2023. - Fouad Al-Mounir, "The Muslim Heritage of Lazarillo de Tormes," The Maghreb Review 8(2) (1983): 16–17. - James T. Monroe, The art of Badi'u 'l-Zaman al-Hamadhani as picaresque narrative (Beirut, LB: American University of Beirut, 1983). - Abu-l-Tahir Muhammad ibn Yusuf al-Tamimi al-Saraqus'i ibn al-Astarkuwi, Al-Maqamat al-luzumiyah trans. James T. Monroe, (Leiden, N.L.: Brill, 2002, ISBN 978-9004492158). - S. Rodzevich, "K istorii russkogo romantizma (Toward the history of Russian Romanticism)," Russky Filologichesky Vestnik (Russian Philological Notebook) (77) (1917): 194-237. (in Russian). - David A. Boruchoff, "Free Will, the Picaresque, and the Exemplarity of Cervantes's Novelas ejemplares," Modern Language Notes (MLN) 124(2) (2009): 372–403. - "Picaresque", Encyclopedia Britannica. Retrieved June 25, 2023. - M. H. Abrams, A Glossary of Literary Terms 7th edition (New York, NY: Harcourt Brace, 1985, ISBN 0030549825), 191. - For an overview of scholarship on the role of conversos in the development of the picaresque novel in sixteenth- and seventeenth-century Spain, see Yael Halevi-Wise, "The Life and Times of the Pícaro Converso from Spain to Latin America," in Sephardism: Spanish Jewish History in the Modern Literary Imagination ed. Yael Halevi-Wise (Stanford, CA: Stanford University Press, 2011, ISBN 978-0804777469), 143–167. - Hans Jakob Christoffel von Grimmelshausen, Der abentheurliche Simplicissimus (The adventurous Simplicissimus) (Nuremberg, DE: J. Fillion, 1669). Retrieved June 23, 2023. - Merriam-Webster's Encyclopedia of Literature (Springfield, MA: Merriam-Webster, Incorporated, 1995, ISBN 978-0877790426), 3. - Ronald Paulson, "Review of Rogue's Progress: Studies in the Picaresque Novel by Robert Alter," The Journal of English and Germanic Philology 64(2) (1965): 303. - Michael Schmidt, The Novel: A Biography (Cambridge, MA: Belknap Press, 2014, ISBN 978-0674724730). - The title page of the first edition of Joseph Andrews lists its full title as: The History of the Adventures of Joseph Andrews, and of His Friend Mr. Abraham Adams. Written in Imitation of the Manner of Cervantes, Author of Don Quixote. - Jurij Striedter, Der Schelmenroman in Russland: Ein Beitrag zur Geschichte des Russischen Romans vor Gogol (Wiesbaden, DE: Harrossowitz Verlag, 1961). - Erica Weitzman, "Imperium Stupidum: Švejk, Satire, Sabotage, Sabotage," Law and Literature 18(2) (2006): 117–148. - Shelley Godsland, The neopicaresque: The picaresque myth in the twentieth-century novel in The Picaresque Novel in Western Literature: From the Sixteenth Century to the Neopicaresque ed. J.A. Garrido Ardila (Cambridge, U.K.: Cambridge University Press, 2015, ISBN 978-1107031654), 247–268. - Mary E. Deters, A Study of the Picaresque Novel in Twentieth-Century America (Lacrosse, WI: University of Wisconsin, Lacrosse, 1969). Retrieved June 23, 2023. - Mark Sanderson, "The picaresque, in detail," Telegraph November 4, 2003. Retrieved June 23, 2023. - Teodosio Fernández, "Sobre la picaresca en Hispanoamérica," Edad de Oro (XX) (2001): 95–104. - Joseph V. Ricapito, The Golden Ass of Apuleius and the Spanish Picaresque Novel (Philadelphia, PA: University of Pennsylvania Press, 1978, ISBN 978-0820402119). - Roberto Chiti, Roberto Poppi, and Enrico Lancia, Dizionario del cinema italiano (Rome, IT: Gremese Editore, 1991, ISBN 978-8877424235). - Leonardo De Franceschi, Lo sguardo eclettico: il cinema di Mario Monicelli (Venezia Mestre, IT: Marsilio, 2001, ISBN 978-8831777636). ReferencesISBN links support NWE through referral fees - Abrams, M.H. A Glossary of Literary Terms, 7th edition. New York, NY: Harcourt Brace, 1985. ISBN 0030549825 - Abu-l-Tahir Muhammad ibn Yusuf al-Tamimi al-Saraqus'i ibn al-Astarkuwi. Al-Maqamat al-luzumiyah. translated by James T. Monroe. Leiden, N.L.: Brill, 2002. ISBN 978-9004492158 - Al-Mounir, Fouad. "The Muslim Heritage of Lazarillo de Tormes," The Maghreb Review 8(2) (1983): 16–17. - Best, O.F. "Para la etimología de pícaro," Nueva Revista de Filología Hispánica 17(3/4) (1963/1964): 352–357. Retrieved June 23, 2023. - Boruchoff, David A. "Free Will, the Picaresque, and the Exemplarity of Cervantes's Novelas ejemplares," Modern Language Notes (MLN) 124(2) (2009): 372–403. - Chaytor, Henry John. La vida de Lazarillo de Tormes. The University Press, 1922. Retrieved June 23, 2023. - Chiti, Roberto, Roberto Poppi, and Enrico Lancia. Dizionario del cinema italiano. Rome, IT: Gremese Editore, 1991, ISBN 978-8877424235 - Cruz, Anne J. Approaches to teaching Lazarillo de Tormes and the picaresque tradition. New York, NY: Modern Language Association of America, 2008. ISBN 978-1603290166 - De Franceschi, Leonardo. Lo sguardo eclettico: il cinema di Mario Monicelli. Venezia Mestre, IT: Marsilio, 2001. ISBN 978-8831777636 - de Tormes, Lazarillo. The life of Lazarillo de Tormes: his fortunes and adversities translated by William Stanley Merwin. New York, NY: Doubleday, 1962. Retrieved June 23, 2023. - Deters, Mary E. A Study of the Picaresque Novel in Twentieth-Century America. Lacrosse, WI: University of Wisconsin, Lacrosse, 1969). Retrieved June 23, 2023. - Eisenberg, Daniel. "Does the Picaresque Novel Exist?" Kentucky Romance Quarterly (26) (1979): 203–219. Retrieved June 25, 2023. - Fernández, Teodosio. "Sobre la picaresca en Hispanoamérica," Edad de Oro (XX) (2001): 95–104. - Godsland, Shelley. The neopicaresque: The picaresque myth in the twentieth-century novel in The Picaresque Novel in Western Literature: From the Sixteenth Century to the Neopicaresque, edited by J.A. Garrido Ardila. Cambridge, U.K.: Cambridge University Press, 2015. ISBN 978-1107031654. - Gonzalez, Felix Rodríguez. Spanish Loanwords in the English Language: a tendency towards hegemony reversal]. Leiden, N.L.: Walter de Gruyter, 1996. ISBN 978-3110148459 - Halevi-Wise, Yael. "The Life and Times of the Pícaro Converso from Spain to Latin America," in Sephardism: Spanish Jewish History in the Modern Literary Imagination, edited by Yael Halevi-Wise. Stanford, CA: Stanford University Press, 2011. ISBN 978-0804777469 - MacAdam, Alfred J. Textual Confrontations: Comparative readings in Latin American literature. Chicago, IL: University of Chicago Press, 1987. ISBN 9780226499901 - Martin, René. Le Satyricon: Pétrone. Jackson Heights, NY Ellipsis Press, 1999. ISBN 978-2729878092 - Merriam-Webster's Encyclopedia of Literature. Springfield, MA: Merriam-Webster, Incorporated, 1995. ISBN 978-0877790426 - Monroe, James T. The art of Badi'u 'l-Zaman al-Hamadhani as picaresque narrative. Beirut, LB: American University of Beirut, 1983. - Neachtain, Seán Ó. The History of Éamon O'Clery, translated by William Mohan. Inverin, IR: Clo Iar-Chonnacht, 2000. ISBN 978-1902420356 - Parker, Alexander Augustine. Literature and the Delinquent: The picaresque novel in Spain and Europe, 1599-1753. Edinburgh University Press, 1978. ISBN 0852243340 - Paulson, Ronald. "Review of Rogue's Progress: Studies in the Picaresque Novel by Robert Alter," The Journal of English and Germanic Philology 64(2) (1965). - Ricapito, Joseph V. The Golden Ass of Apuleius and the Spanish Picaresque Novel. Philadelphia, PA: University of Pennsylvania Press, 1978. ISBN 978-0820402119 - Rodzevich, S. "K istorii russkogo romantizma (Toward the history of Russian Romanticism)," Russky Filologichesky Vestnik (Russian Philological Notebook) (77) (1917): 194-237. - Sanderson, Mark. "The picaresque, in detail," Telegraph November 4, 2003. Retrieved June 23, 2023. - Schmidt, Michael. The Novel: A Biography. Cambridge, MA: Belknap Press, 2014. ISBN 978-0674724730 - Striedter, Jurij. Der Schelmenroman in Russland: Ein Beitrag zur Geschichte des Russischen Romans vor Gogol. Wiesbaden, DE: Harrossowitz Verlag, 1961. - Thrall, William, and Addison Hibbard. A Handbook to Literature. New York, NY: The Odyssey Press, 1960. - Turner, Harriet, and Adelaida López de Martínez. The Cambridge Companion to the Spanish Novel: From 1600 to the Present. Cambridge, U.K.: Cambridge University Press, 2003. ISBN 978-0521778152 - von Grimmelshausen, Hans Jakob Christoffel. Der abentheurliche Simplicissimus (The adventurous Simplicissimus). Nuremberg, DE: J. Fillion, 1669. Retrieved June 23, 2023. - Alter, Robert. Rogue's progress: studies in the picaresque novel Harvard University Press, 1964. Retrieved June 29, 2023. - Garrido Ardila, Juan Antonio. El género picaresco en la crítica literaria. Madrid: Biblioteca Nueva, 2008. ASIN B00HCB8ERG - Garrido Ardila, Juan Antonio. La novela picaresca en Europa, 1554-1753. Madrid: Visor libros, 2009. ISBN 978-8498951097 - Meyer-Minnemann, Klaus, and Sabine Schlickers (eds.). La novela picaresca: Concepto genérico y evolución del género (siglos XVI y XVII). Madrid, Iberoamericana, 2008. ISBN 978-8484894223 - Klein, Norman M., and Margo Bistis. The Imaginary 20th Century, Karlsruhe, ZKM: Center for Art and Media, 2016. ISBN 978-3928201483 All links retrieved June 25, 2023. New World Encyclopedia writers and editors rewrote and completed the Wikipedia article in accordance with New World Encyclopedia standards. This article abides by terms of the Creative Commons CC-by-sa 3.0 License (CC-by-sa), which may be used and disseminated with proper attribution. Credit is due under the terms of this license that can reference both the New World Encyclopedia contributors and the selfless volunteer contributors of the Wikimedia Foundation. To cite this article click here for a list of acceptable citing formats.The history of earlier contributions by wikipedians is accessible to researchers here: The history of this article since it was imported to New World Encyclopedia: Note: Some restrictions may apply to use of individual images which are separately licensed.

<urn:uuid:3a2d9f0e-97fc-4ac1-8b3a-be0fdda572a5>

CC-MAIN-2023-40

https://www.newworldencyclopedia.org/entry/Picaresque_novel

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506339.10/warc/CC-MAIN-20230922070214-20230922100214-00682.warc.gz

en

Nuclear engineers harness the strongest forces of nature to tackle some of society’s biggest challenges. Our curriculum gives students depth and breadth to keep up with rapidly changing technology, and our close-knit learning community supports our students' success during their degree and as they launch their careers. The radiation sciences option provides a pathway for careers in medical applications of radiation. Nuclear energy is the largest source of clean electricity in the United States and new technologies will allow its impact to grow as we decarbonize our economy. Most nuclear engineers design, build and operate nuclear power plants—today based on fission of uranium, but in the future, based on fusion of hydrogen. With no greenhouse gas emissions, nuclear energy is a reliable and predictable partner to other clean electricity, like wind, solar and hydro. Nuclear power sources have even more potential as new technologies and are deployed to remove carbon emissions from industrial processes like hydrogen production, water desalination, and steel manufacturing. With radiation from man-made radioisotopes and particle accelerators, we can diagnose and treat cancer and other diseases. Nuclear engineers in the radiation sciences option design systems to generate radioactive tracers that can be injected into patients to pinpoint tumors, stress fractures, and cardiac diseases, while others build accelerators that deliver radiation precisely to diseased tissue while avoiding sensitive organs. Talk to your academic advisor about declaring the Radiation Sciences option. Students must have, and are expected to maintain, a 3.0 cumulative GPA. Today’s rovers on Mars are powered by nuclear power sources and tomorrow’s spacecrafts will need nuclear power to transport humans far into space. Nuclear engineers build radioisotope thermal generators that provide nonstop power with no moving parts to deep-space probes and planetary vehicles, allowing missions that last for many years. Nuclear space propulsion cuts the travel time to other planets by months and surface power ensures reliable energy once the spacecraft lands. Using advanced radiation detection systems, we can seek out explosives and nuclear weapons being smuggled in shipping containers. Nuclear engineers combine sources and detectors that use penetrating radiation that not only can see objects through thick shields, but can also determine the composition of the items inside. Additionally, they use machine learning and artificial intelligence to combine the signals from these systems for even more insight. Our curriculum starts with an Introduction to Nuclear Engineering designed for first year students to learn about a variety of technical nuclear topics and also to engage with some societal challenges. Later on, the curriculum focuses on the deepest physics and math base in the College of Engineering to prepare our graduates for careers with constantly evolving technologies based on the newest scientific discoveries. We transition from these fundamentals to more applied topics in radiation transport, thermal systems, materials science, imaging and detectors, while students build skills in computational modeling and simulation. All of our students also take at least one course that offers an experience with the UW Nuclear Reactor. Students in the radiation sciences option will complete their degree with graduate courses from the internationally recognized Medical Physics program. This interdisciplinary degree program overlaps with other engineering disciplines, allowing our graduates to transition into a variety of industries and careers. Small class sizes allow students and professors to get to know each other in a supportive learning community starting in their first year. Many students participate in undergraduate research across one of the biggest research portfolios in the College of Engineering. Faculty collaborations with companies in nuclear science and technology—both established and newcomers, as well as the country’s national laboratories—provide a professional network that helps students find internships and launch their careers. NUCLEAR ENGINEERING PROGRAM EDUCATIONAL OBJECTIVES The faculty recognize that our graduates will choose to use the knowledge and skills they have acquired during their undergraduate years to pursue a wide variety of career and life goals and we encourage this diversity of paths. Regarding the Nuclear Engineering program, we initially expect graduates will begin their careers in fields that utilize their knowledge, education and training in the interaction of radiation with matter as it applies to power generation, health and medical physics, security and safeguards and other engineering fields. Whatever path our graduates choose to pursue, our educational objectives for the nuclear engineering program are to allow them to: - Exhibit strong performance and continuous development in problem-solving, leadership, teamwork, and communication, initially applied to nuclear engineering, and demonstrating an unwavering commitment to excellence. - Demonstrate continuing commitment to, and interest in, his or her training and education, as well as those of others. - Transition seamlessly into a professional environment and make continuing, well-informed career choices. - Contribute to their communities. Admission to the College as a Freshman Students applying to UW–Madison need to indicate an engineering major as their first choice in order to be considered for direct admission to the College of Engineering. Direct admission to a major means students will start in the program of their choice in the College of Engineering and will need to meet progression requirements at the end of the first year to guarantee advancement in that program. Cross-Campus Transfer to Engineering UW–Madison students in other schools and colleges on campus must meet minimum admission requirements for admission consideration to engineering degree granting classifications. Cross-campus admission is competitive and selective, and the grade point average expectations may increase as demand trends change. The student’s overall academic record at UW–Madison is also considered. Students apply to their intended engineering program by submitting the online application by stated deadlines for spring and fall. The College of Engineering offers an online information tutorial and drop-in advising for students to learn about the cross-campus transfer process. Off-Campus Transfer to Engineering With careful planning, students at other accredited institutions can transfer coursework that will apply toward engineering degree requirements at UW–Madison. Off-campus transfer applicants are considered for direct admission to the College of Engineering by applying to the Office of Admissions with an engineering major listed as their first choice. Those who are admitted to their intended engineering program must meet progression requirements at the point of transfer or within their first two semesters at UW–Madison to guarantee advancement in that program. A minimum of 30 credits in residence in the College of Engineering is required after transferring, and all students must meet all requirements for their major in the college. Transfer admission to the College of Engineering is competitive and selective, and students who have exceeded the 80 credit limit at the time of application are not eligible to apply. The College of Engineering has dual degree programs with select four-year UW System campuses. Eligible dual degree applicants are not subject to the 80 credit limit. Off-campus transfer students are encouraged to discuss their interests, academic background, and admission options with the Transfer Coordinator in the College of Engineering: email@example.com or 608-262-2473. Second Bachelor's Degree The College of Engineering does not accept second undergraduate degree applications. Second degree students might explore the Biological Systems Engineering program at UW–Madison, an undergraduate engineering degree elsewhere, or a graduate program in the College of Engineering. Radiation Sciences Declaration Talk to your academic advisor about declaring the Radiation Sciences option. Students must have and are expected to maintain a 3.0 cumulative GPA. University General Education Requirements All undergraduate students at the University of Wisconsin–Madison are required to fulfill a minimum set of common university general education requirements to ensure that every graduate acquires the essential core of an undergraduate education. This core establishes a foundation for living a productive life, being a citizen of the world, appreciating aesthetic values, and engaging in lifelong learning in a continually changing world. Various schools and colleges will have requirements in addition to the requirements listed below. Consult your advisor for assistance, as needed. For additional information, see the university Undergraduate General Education Requirements section of the Guide. |General Education|| | * The mortarboard symbol appears before the title of any course that fulfills one of the Communication Part A or Part B, Ethnic Studies, or Quantitative Reasoning Part A or Part B requirements. The nuclear engineering curriculum emphasizes nuclear power and is appropriate for students seeking careers in the nuclear power industry. There is also a Radiation Sciences option available for students interested in medical and other non-power applications. The following curriculum applies to students who entered the program starting in Fall 2020. Summary of Requirements |Mathematics and Statistics||22| |Nuclear Engineering Core||28| |Nuclear Engineering Electives||8| |Introduction to Engineering||3| Mathematics and Statistics |MATH 221||Calculus and Analytic Geometry 1||5| |or MATH 217||Calculus with Algebra and Trigonometry II| |or MATH 275||Topics in Calculus I| |MATH 222||Calculus and Analytic Geometry 2||4| |or MATH 276||Topics in Calculus II| |MATH 234||Calculus--Functions of Several Variables||4| |MATH 320||Linear Algebra and Differential Equations||3| |MATH 321||Applied Mathematical Analysis||3| |STAT 324||Introductory Applied Statistics for Engineers||3| |Select one of the following:||5-9| |Advanced General Chemistry| | General Chemistry I| and General Chemistry II |PHYSICS 202||General Physics||5| |or PHYSICS 208||General Physics| |PHYSICS 241||Introduction to Modern Physics||3| |or PHYSICS 205||Modern Physics for Engineers| |E M A 201||Statics||3| |E M A 202||Dynamics||3| |or M E 240||Dynamics| |E M A 303||Mechanics of Materials||3| |or M E 306||Mechanics of Materials| |E P 271||Engineering Problem Solving I||3-4| |or COMP SCI 200||Programming I| |or COMP SCI 220||Data Science Programming I| |or COMP SCI 310||Problem Solving Using Computers| |M S & E 350||Introduction to Materials Science||3| |M E 231||Geometric Modeling for Design and Manufacturing||3| |M E 361||Thermodynamics||3| |Select one of the following:||4-6| |Introductory Transport Phenomena| | Fluid Dynamics| and Elementary Heat Transfer |E C E 376||Electrical and Electronic Circuits 1||3| |Computing Elective (select one of the following):||3| |Introduction to Numerical Methods| |Intermediate Problem Solving for Engineers| |Introduction to Scientific Computing for Engineering Physics| Nuclear Engineering Core |N E 305||Fundamentals of Nuclear Engineering||3| |N E 405||Nuclear Reactor Theory||3| |N E 408||Ionizing Radiation||3| |N E 411||Nuclear Reactor Engineering||3| |N E 412||Nuclear Reactor Design||5| |N E/M S & E 423||Nuclear Engineering Materials||3| |N E 424||Nuclear Materials Laboratory||1| |N E 427||Nuclear Instrumentation Laboratory||2| |N E 428||Nuclear Reactor Laboratory||2| |N E 571||Economic and Environmental Aspects of Nuclear Energy||3| Nuclear Engineering Electives |Nuclear Engineering Electives||6| Select credits from Nuclear Engineering Electives Course List below |Technical Electives (not to be confused with Nuclear Engineering Electives) choose 2 credits from:||2| |Cooperative Education Program (no more than 3 credits)| Courses numbered 300+ in the CoE except for E P D/INTEREGR Courses numbered 300+ in MATH, PHYSICS, COMP SCI, STAT (except STAT 301), ASTRON, MED PHYS, and CHEM departments Students may also propose any class that they feel will benefit their education path with pre-requisite of two physics or calculus classes. For these courses the advisor will review the request and if approved, recommend a DARS substitution. Nuclear Engineering Electives Course List 1 |N E 234||Principles and Practice of Nuclear Reactor Operations||4| |N E 406||Nuclear Reactor Analysis||3| |N E/M S & E 433||Principles of Corrosion||3| |N E/MED PHYS 506||Monte Carlo Radiation Transport||3| |M E/N E 520||Two-Phase Flow and Heat Transfer||3| |N E/E C E/PHYSICS 525||Introduction to Plasmas||3| |N E 536||Feasibility St of Power from Controlled Thermonuclear Fusion||3| |N E 541||Radiation Damage in Metals||3| |N E 545||Materials Degradation in Advanced Nuclear Reactor Environments||3| |N E 550||Advanced Nuclear Power Engineering||3| |N E 555||Nuclear Reactor Dynamics||3| |N E/M E 565||Power Plant Technology||3| |N E/MED PHYS 569||Health Physics and Biological Effects||3-4| |N E/I SY E 574||Methods for Probabilistic Risk Analysis of Nuclear Power Plants||3| |N E 602||Special Topics in Reactor Engineering||3| Students are encouraged to access the online N E future course offering grid to plan their future course schedules and to confirm the offering of a course in the table. Courses meeting the Nuclear Engineering Electives requirement are all N E courses numbered above 200 that are not part of the required curriculum. No more than 3 credits of N E 699 Advanced Independent Study may be used to meet this requirement. (Refer to the NE handbook under Degree Information on the NEEP department website). Introduction to Engineering |N E 231||Introduction to Nuclear Engineering||3| |ENGL 100||Introduction to College Composition||3| |or LSC 100||Science and Storytelling| |or COM ARTS 100||Introduction to Speech Composition| |or ESL 118||Academic Writing II| |E P D 275||Technical Presentations||2| |INTEREGR 397||Engineering Communication||3| Liberal Studies Electives |College of Engineering Liberal Studies Requirements| |Complete Requirements 1||16| Students must take 16 credits that carry H, S, L, or Z breadth designators. These credits must fulfill the following subrequirements: - A minimum of two courses from the same subject area (the description before the course number). At least one of these two courses must be designated as above the elementary level (I, A, or D) in the course listing. - A minimum of 6 credits designated as humanities (H, L, or Z in the course listing), and an additional minimum of 3 credits designated as social science (S or Z in the course listing). Foreign language courses count as H credits. Retroactive credits for language courses may not be used to meet the Liberal Studies credit requirement (they can be used for subrequirement 1 above). - At least 3 credits in courses designated as ethnic studies (lower case “e” in the course listing). These courses may help satisfy subrequirements 1 and 2 above, but they only count once toward the total required. Note: Some courses may have “e” designation but not have H, S, L, or Z designation; these courses do not count toward the Liberal Studies requirement. For information on credit load, adding or dropping courses, course substitutions, pass/fail, auditing courses, dean's honor list, repeating courses, probation, and graduation, see the College of Engineering Official Regulations. Talk to your academic advisor about declaring the Radiation Sciences option. Students must have and are expected to maintain a 3.0 cumulative GPA. Honors in Undergraduate Research Program Qualified undergraduates may earn an Honor in Research designation on their transcript and diploma by completing 8 credits of undergraduate honors research, including a senior thesis. Further information is available in the department office. University Degree Requirements |Total Degree||To receive a bachelor's degree from UW–Madison, students must earn a minimum of 120 degree credits. The requirements for some programs may exceed 120 degree credits. Students should consult with their college or department advisor for information on specific credit requirements.| |Residency||Degree candidates are required to earn a minimum of 30 credits in residence at UW–Madison. "In residence" means on the UW–Madison campus with an undergraduate degree classification. “In residence” credit also includes UW–Madison courses offered in distance or online formats and credits earned in UW–Madison Study Abroad/Study Away programs.| |Quality of Work||Undergraduate students must maintain the minimum grade point average specified by the school, college, or academic program to remain in good academic standing. Students whose academic performance drops below these minimum thresholds will be placed on academic probation.| - an ability to identify, formulate, and solve complex engineering problems by applying principles of engineering, science, and mathematics - an ability to apply engineering design to produce solutions that meet specified needs with consideration of public health, safety, and welfare, as well as global, cultural, social, environmental, and economic factors - an ability to communicate effectively with a range of audiences - an ability to recognize ethical and professional responsibilities in engineering situations and make informed judgments, which must consider the impact of engineering solutions in global, economic, environmental, and societal contexts - an ability to function effectively on a team whose members together provide leadership, create a collaborative and inclusive environment, establish goals, plan tasks, and meet objectives - an ability to develop and conduct appropriate experimentation, analyze and interpret data, and use engineering judgment to draw conclusions - an ability to acquire and apply new knowledge as needed, using appropriate learning strategies. SAMPLE FOUR-YEAR PLAN |CHEM 1091||5||E M A 2013||3| |MATH 221||5||MATH 222||4| |Communication A||3||M E 231||3| |Liberal Studies Elective||3||M S & E 350||3| |N E 231||3| |MATH 234||4||MATH 320||3| |PHYSICS 202||5||PHYSICS 241 or 205||3| |E M A 2024||3||M E 361||3| |E P 271 or COMP SCI 310||3||E M A 3034||3| |E P D 275 or COM ARTS 105||2||N E 424||1| |Liberal Studies Elective||3| |N E 305||3||N E 405||3| |MATH 321||3||N E 408||3| |STAT 3245||3||CBE 3206||4| |Technical Elective||2||Computing Elective||3| |Liberal Studies Elective||4||E C E 376||3| |N E 411||3||N E 412||5| |N E 427||2||N E 428||2| |N E/M S & E 423||3||N E 571||3| |Nuclear Engineering Elective||3||Nuclear Engineering Elective||3| |Liberal Studies Elective||3||Liberal Studies Elective||3| |Total Credits 129| It is recommended that students take CHEM 109 Advanced General Chemistry for 5 credits. However, depending on their high school chemistry experience, students may substitute CHEM 103 General Chemistry I and CHEM 104 General Chemistry II for a total of 9 credits. Three credits of CHEM 103/CHEM 104 may be counted towards Technical Electives credits. Students who were not able to take N E 231 Introduction to Nuclear Engineering as freshmen may, with the approval of their advisor, substitute a course offered in the College of Engineering or in the Departments of Chemistry, Computer Sciences, Mathematics, and Physics. Each College of Engineering program has academic advisors dedicated to serving its students. Program advisors can help current College of Engineering students with questions about accessing courses, navigating degree requirements, resolving academic issues and more. Students can find their assigned advisor on the homepage of their student center. Continuing students who have fulfilled the progression requirements will also be assigned a Nuclear Engineering faculty advisor. Before enrolling in courses each semester, students must meet with their faculty advisor for assistance in planning courses and reviewing degree requirements. Faculty advisors are a valuable resource, as they can provide students with in-depth guidance on course content, internship and job opportunities, research, and more. Engineering Career Services Engineering Career Services (ECS) assists students in identifying pre-professional work-based learning experiences such as co-ops and summer internships, considering and applying to graduate or professional school, and finding full-time professional employment during their graduation year. ECS offers two major career fairs per year, assists with resume writing and interviewing skills, hosts workshops on the job search, and meets one-on-one with students to discuss offer negotiations. Students are encouraged to utilize the ECS office early in their academic careers. For comprehensive information on ECS programs and workshops, see the ECS website or call 608-262-3471. Paul Wilson (Chair) Juliana Pacheco Duarte Facilities available for instruction and research include: Nuclear Reactor Laboratory Nuclear Instrumentation Laboratory Fluid Mechanics and Heat Transfer Laboratories Plasma Physics Laboratories Instructional Computing Labs (in Computer Aided Engineering) The Department of Nuclear Engineering & Engineering Physics & the College of Engineering have several types of scholarships available to incoming and current engineering students. Students should explore the Wisconsin Scholarship Hub (WiSH), where you can apply to and find specific information on scholarships at UW-Madison. You can use WiSH to find engineering scholarships available through the College of Engineering; the Inclusion, Equity, and Diversity in Engineering Student Center; the Nuclear Engineering & Engineering Physics Department; and other UW and external organizations. (Please note: students must be currently enrolled in, or have applied to, the College of Engineering to be considered for engineering scholarships.) To be matched with these available scholarship funds an application is required and the system is typically open to students in the spring of each year. Questions on the process can be directed to: firstname.lastname@example.org. Additional financial assistance may be awarded through the Office of Student Financial Aid (333 E. Campus Mall RM 9701, 262-3060). Accredited by the Engineering Accreditation Commission of ABET, http://www.abet.org. Note: Undergraduate Program Educational Objectives and Student Outcomes are made publicly available at the Departmental website. (In this Guide, the program's Student Outcomes are designated by our campus as "Learning Outcomes.")

<urn:uuid:efa5df6f-5302-43e8-b54c-c78cc6237927>

CC-MAIN-2023-40

https://guide.wisc.edu/undergraduate/engineering/nuclear-engineering-engineering-physics/nuclear-engineering-bs/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510676.40/warc/CC-MAIN-20230930113949-20230930143949-00583.warc.gz

en

Here is a list of activities and resources we are using for an American Revolution unit I am teaching to a group of nine homeschoolers, ages seven through ten. The class is a twenty-week unit that traces the causes, battles and results of the American Revolution. Unlike other units, which I’ve broken down by disciplines, I describe this curriculum week-by-week, as I will teach it. We are using the PBS mini-series Liberty’s Kids as the unifying framework for the class, but we are reading broadly as well. The class is a field trip heavy, and we will become Junior Rangers at both Minute Man and Independence Hall National Parks. We are going to cook colonial food, dance a minuet, learn a bit about portraiture, and write with quill pens. We’ll read the Stamp Act, and Declaration of Independence. We’ll memorize the preamble to the Constitution and Phillis Wheatly poetry. We’ll learn about the roles of slaves, free blacks, Native Americans, Jews, and women in the revolution. And, because I’m the teacher, we’ll play a lot of charades. Throughout the course, I will focus on cultivating the following habits of mind: - Exploring historical events from multiple perspectives, and understanding how perspective effects interpretation. - Using primary sources when available, and understanding the benefits of primary resources. - Exploring art as a unique expression of the culture and sentiments of a historical era (by looking at poetry, portraits, and political cartoons). - Understanding the importance of preserving historical sites and documents, and committing to do so (through the National Parks Junior Ranger program). Too much fun! Week 1: French and Indian War Through Boston Massacre Before class, students were instructed to watch Liberty Kids Episodes 1 & 2, and the first episode of the John Adams miniseries on HBO. They had to read the Stamp Act; You Wouldn’t Want to be at the Boston Tea Party (page 5-21); and To His Excellency George Washington by Phillis Wheatley. Activity 1: History Pocket As students walked in, they found a spot around the table and began to work on their portfolios, folders with projects that I copies from History Pockets: American Revolution. I attached copies of the pages we used, but you should buy the book. We sorted soldiers from the two sides into Loyalists and Rebels, and analyzed the most famous political cartoon of the era. Activity 2: Get To Know You Each student had to choose between 1 and 4 M&Ms. After each student chose their candy pieces, I told them the rules. Depending on how many candies they had chosen, they had to do the following: - 1 candy: tell us your name and something you like about homeschooling - 2 candies: tell us your name and something you like about homeschooling; share something you interesting about yourself - 3 candies: tell us your name and something you like about homeschooling; share something you interesting about yourself; tell us one great thing about your mom - 4 candies: tell us your name and something you like about homeschooling; share something you interesting about yourself; tell us one great thing about your mom; do 10 push-ups Activity 3: Timeline Using a piece of newsprint, we created a timeline from 1763 to to 1774. We included: French and Indian War (or Seven Years War), Sugar Act, Stamp Act, Stamp Act Congress, Quartering Act, Boston Massacre, Tea Act, Tea Party, and Intolerable Acts. At each stop along the timeline, kids told me what they knew about each event, and I filled in as needed. Throughout the discussion, I kept pushing them to think about how this event looked from England’s point of view. This was the hardest part of the exercise. Activity 4: Tax Time We simulated colonial reaction to a series of tax acts passed by Parliament to raise money to pay for the Seven Years War and to pay England for the protection of the colonies. Students pulled cards from a bowl to take on one of the following roles: King/Queen (1); Parliament (2); Tax Collector (1); Colonists (everyone else). I handed out cups of 10 pennies to each participant, sat the Queen in a tall chair, positioned Parliament just below her and explained that Parliament would draw new laws from a bowl and, when applicable, the tax collector would collect taxes, sell stamps, etc. I also explained that if you ran out of money and could not pay your tax, you would be sent to debtor’s prison and could only get out if someone else chose to pay your debt (and the daily 1 pence fee for keeping you in prison). The laws were: - Any subject wearing denim of any sort shall pay the crown a tax of 2 pence. - Any subject possessing a political cartoon of any sort must affix the proper stamp to said cartoon. The stamp shall cost 3 pence. (I had Air Mail stamps in the house and used those, but any stamp would do.) - Any subject who wishes to use the bathroom shall pay a toilet tax of 2 pence. - Any subject wearing a t-shirt must pay a cotton tax of 3 pence. - Any subject who traveled to the homeschool meeting hall by any form of transportation involving wheels shall pay a roadway fee of 2 pence. Homework: Color the British and American flags on the cover of your portfolio. Memorize a stanza from the Wheatley poem. Write what they think the ‘Join or Die’ cartoon means in their own words. Read George versus George (pages 8-26) and write a letter from one George to the other about any shared interest (sports, farming, politics, etc.). Week 2: Tea Party Museum Field Trip The museum is opening an hour early to give our class the run of the place. Here’s a description of what we’ll do there, from the museum’s website: This floating museum is unlike anything you’ve ever experienced before. Live actors, high-tech, interactive exhibits, authentically restored tea ships and the stirring, multi-sensory documentary “Let it Begin Here,” are just a taste of what you’ll see, hear and feel. You will meet the colonists, explore the ships and dump tea overboard just as the Sons of Liberty did on that fateful night of December 16, 1773. Finally, you will stop in at Abigail’s Tea Room for teatime. Homework: Start reading Chains, by Laurie Halse Anderson, which tells the story of one slave’s experience of the beginning of the Revolution. Watch: Episodes 3 & 4 of Liberty Kids. Week 3: “No More Kings” Activity 1: Oral Presentations Students will take turns reading aloud the letters they wrote from George to George. They’ll also recite the stanza they memorized from To His Excellency George Washington by Phillis Wheatley. Activity 2: “No More Kings” Every child will fold their paper in half lengthwise. On the left, they’ll write “Accurate,” and on the right “Inaccurate.” I’ll ask them to watch “No More Kings” from Shoolhouse Rock, looking for accurate and inaccurate depictions in the video. After watching it once, I’ll give them a few minutes to fill in their papers. Then we’ll watch it again, looking for accuracies and inaccuracies. Next, I’ll have them get with a partner to make a joint list. Finally, we’ll make a giant list on newsprint, with one point for each answer they come up with. If they get more than 10 points, I’ll let them have a two-minute dance party. Activity 3: Bowl Game I fill a bowl with 20 slips of paper. Each kid pulls out a slip and gives as many verbal clues as needed for the other kids to guess the person or event on the slip. Next, we put all of the slips back in the bowl. In round two, when they pull out a slip, they have to act it out with no words. The people and events on the slips: John Adams, Abigail Adams, Benjamin Franklin, Join Or Die, Phillis Wheatley, Boston Massacre, Tea Party, Stamp Act, Quartering Act, French and Indian War, King George, Lord North, Sam Adams, General Gage, “Taxation Without Representation is Tyranny,” Governor Hutchinson, Patrick Henry, George Washington, Crispus Attucks, Sons of Liberty. Note: When I taught this, the day fell on Martin Luther King day. I incorporated some of these activities in to the day. Homework: Finish reading Chains and complete the graphic organizer to analyze one character’s development. (Click here for a copy of the organizer: Graphic Organizer – Chains. I had students do the alternate assignment.) Week 4: Chains Activity 1: Character Clues Students will exchange organizers (that they did for homework) with one another, and try to guess the characters using the picture and clue. Activity 2: Headbanz We own the game Hedbanz, and have enough bands for each child. I’ll make character cards (each card has the name of a character from the book) and place them in a pile. All student put on a head band and place a card in it without looking. The first child begins by asking YES/NO questions in attempt to guess their character before the timer runs out. If they do so, they get a token for their team (boys versus girls). If there is still time, they can take another card and ask questions until the time runs out. If time runs out before the player guesses their character, the card remains in the band until Round 2. After every player has a turn, round 1 is over. Play for two rounds and count up the points. Activity 3: Dice Game I prepared six categories of questions, and laid them out on the table under colored index cards, labeled: 1) True/False, 2) Fill In The Blank, 3) Book Review, 4) More Book Review, 5) Book-to-Book, and 6) Book-to-Life. Book Review questions ask them to analyze the writing, make predictions, and focus on what makes a book work or not work. Book-to-Book questions ask them to make connections between the book and other books they’ve read. And Book-to-Life questions ask them to make connections between the book and their life. Click here for a list of questions. To play, a student rolls the dice to see which type of question to answer. They can decide whether to answer the question themselves or ask everyone else to answer. Again, making it a game somehow makes it fun to have a relatively advanced discussion of literature. Homework: Choose one of the Book-to-Book or Book-to-Life Questions from the Dice Game, and write a 5-paragraph answer to the question. Week 5: Freedom Trail Field Trip We’ll take a walking tour of the Freedom Trail led by an 18th century costumed guide. Students listen to the speeches of the Sons of Liberty in the places where they actually occurred and hear reenactments of the events that sparked the War for Independence. These 90 minute tours are outside and cover 11 sites from Boston Common to Faneuil Hall. Students will all bring cameras and will take pictures of the different sites. Homework: Print pictures from tour. Watch: Liberty Kids Episodes 5 & 6. Read: George versus George (pages 28-35). Read Longfellow’s Midnight Ride of Paul Revere. Memorize any stanza from poem. Week 6: “The Shot Heard Round the World” Activity 1: Scrapbook Page I’ll have a ton of scrapbooking materials available, and students can take their pictures and make one or two scrapbook pages. I’ll encourage them to write descriptive captions. Activity 2: Paul Revere’s Ride Students will recite the stanzas they memorized, and we’ll discuss what we like about the poem and what was misleading. Each student will then make an interactive 3-D map. You can find the lesson plan (which is excellent) and all of the materials to print in the book Interactive 3-D Maps: American Revolution. The map allows you to teach about Paul Revere’s life, as well as the ride. The front cover of the book states the projects are “maps that students make and manipulate to learn key facts and concepts – in a kinesthetic way!” My kids love them. Activity 3: “The Shot Heard Round the World” We’ll watch “Shot Heard ‘Round The World.” After watching it we’ll discuss why people call the battles at Lexinton and Concord the shot heard ’round the world. I’ll read them the beginning of the Emerson poem “Concord Hymn,” which is the origin of the phrase. We’ll talk about why no one could have used that phrase until decades later. Homework: Complete the following activities in the Minute Man National Historical Park Junior Ranger Guide: A Call To Arms; Paul Revere Capture Site (Crossword and Extra Activity); Freedom, Liberty and Citizen Responsibility Week 7: Minute Man National Park Field Trip We’ll visit the park, see the orientation film and then complete the following activities in the Junior Ranger Guide: Minute Man Visitor Center Questions and Mural Extra Activity; Brooks HIll; The North Bridge (Doodle Like Doolittle and Reading the Landscape). When they are done, we’ll return to the visitor’s center so that kids can take their oath and receive their badge. Homework: Read Johnny Tremaine by Esther Forbes. Week 8: Minute Men in Action Field Trip One of the mothers has arranged for the students to meet with Minute Men re-enactors. Among a bunch of cool activities, they will learn how to load and fire a musket and cannon. Homework: Draw one scene from Johnny Tremaine. Week 9: Johnny Tremaine Activity 1: A Soldier’s Life As students walk in, they find a spot around the table and begin to work on their portfolios, folders with projects that I copies from History Pockets: American Revolution. From Pocket Number 4: A Soldier’s Life, they will do the following: Highlight interesting facts from the background information on page 42; glue the fast facts from page 41 to a piece of construction paper, complete the Uniforms activity from pages 43-45; complete the Powder Horn activity on pages 46-48; complete the Women in the War activity form pages 52-54. Activity 3: Dice Game I prepared six categories of questions, and laid them out on the table under colored index cards, labeled: 1) True/False, 2) Fill In The Blank, 3) Book Review, 4) Literary Elements, 5) Book-to-Book, and 6) Book-to-Life. Book Review questions ask them to analyze the writing, make predictions, and focus on what makes a book work or not work. Book-to-Book questions ask them to make connections between the book and other books they’ve read. And Book-to-Life questions ask them to make connections between the book and their life. Click here for a list of questions. To play, a student rolls the dice to see which type of question to answer. They can decide whether to answer the question themselves or ask everyone else to answer. Again, making it a game somehow makes it fun to have a relatively advanced discussion of literature. Homework: Watch: Episodes 7, 8, 9. Read: 1776, chapter 1 & 2. Week 10: Bunker Hill & Breed’s Hill Activity 1: Battles As students walk in, they find a spot around the table and begin to work on their portfolios, folders with projects that I copies from History Pockets: American Revolution. From Pocket Number 5: Battles, they will do the following: Highlight interesting facts from the background information on page 57; glue the fast facts from page 56 to a piece of construction paper, complete the Battle of Bunker Hill activity from pages 58-60. Activity 2: British Victory at Bunker Hill We’ll watch a short clip of the Battle of Bunker Hill from the History Channel. Students will break up into two groups to come up with arguments to support one of two positions, either that the colonists or the British won the battle. Activity 3: Timeline Game I will fill two trash cans with 20 inflated balloons in each. 10 of the balloons will have events written on slips of paper and taped to the balloons. Students will form two teams. When I say go, the first person from each team will run to the trash can, pull out a balloon and bring it back to their team. When they tag the next person, that person will go to the can and pull out a balloon. This continues until they find all ten balloons with slips of paper. While the team is getting balloons, members who are not running can pull off the slips of paper, and arrange the events in order. They will tape the events on a poster board, and write the year of the event next to it. The first team to correctly complete their timeline wins. Events: The End of French and Indian War, Sugar Act, Stamp Act, Stamp Act Congress, Quartering Act, Boston Massacre, Tea Act, Tea Party, Intolerable Acts, Battle at Lexington and Concord, General Washington takes over command of the Continental Army, 1st Continental Congress, Phillis Wheatley writes “To His Excellency George Washington,” Battles of Bunker Hill and Breeds Hill. Homework: Read: 1776, chapters 3 & 4; Complete the Patriots of Color Packet (reading and crossword). Week 11: Bunker Hill Field Trip Patriots of Color Program: Although they did not enjoy the rights of their fellow colonists, over 100 African and Native Americans fought alongside their white neighbors at the Battle of Bunker Hill in defense of liberty. Using a tour, primary documents, paintings, and hands-on activities, students will learn about twelve Native and African Americans who fought at the battle. Mapping the Battle Program: Students will use a large canvas map to learn about mapreading skills, geography, and the importance of topography. Through several interactive activities, students will gain a better understanding of the first major battle of the Revolutionary War, and the important role that geography has played in shaping our history. Homework: Watch: Episodes 10-12; Read: Common Sense; Independent Dames; Prepare a 3-minute oral report on an innovation of Ben Franklin’s (Students can find information on the internet, or they can read What’s the Big Idea Ben Franklin?) Week 12: Tea Time (2.5 Hours, instead of 2 hours) Activity 1: Understanding Common Sense (25 minutes) We will read aloud an abridged interpretation of Common Sense. Students will work in pairs to answer questions about the document. Click here for the worksheet. Activity 2: Oral Reports (35 minutes) Each student will give his or her report. Activity 3: Tea Party (1.5 hours) Families will bring colonial treats and tea. Students will come dressed for a colonial tea. The first two activities will take place on another floor of the house, so that the parents can set the tables for a tea and can set up a dance area on the first floor. During the tea, we will teach the kids how to dance a minuet and a jig. Homework: Watch: Episode 13 (Declaration of Independence), and Episode 2 of John Adams on HBO. Read: Declaration of Independence. Memorize: Introduction to Declaration Week 13: Declaration of Independence Activity 1: Jefferson’s Declaration As students walk in, they’ll find a spot around the table and begin to work on their portfolios, folders with projects that I copies from History Pockets: American Revolution. From Pocket Number 3, they will work on Jefferson’s Declaration. They’ll highlight interesting facts from the background information on page 32. Then we’ll discuss key vocabulary: self-evident, endowed, unalienable. We’ll read the introductory statement on page 33, and students will copy the statement on the bottom of the page. Activity 2: “Fireworks” Watch Schoolhouse Rock “Fireworks.” We’ll watch it a couple of times and have the kids sing along and recite the introduction to the Declaration. Activity 3: T-shirts Give students white t-shirts and fabric markers. Have them design a t-shirt to take home. It should have one of the slogans we have learned in the class, or a phrase from the Declaration. (Examples: Give me liberty or give me death. Taxation without representation is tyranny. Life, liberty, and the pursuit of happiness. Join or Die.) The shirts should also have a symbol/picture that illustrates or amplifies the phrase. Homework: Watch: Episodes 14-19 and Episode of 2 of John Adams; Read pages 36-49 in George versus George Week 13B: Museum of Fine Arts Field Trip The Museum of Fine Arts in Boston offers these great classes for kids, Artful Adventures. Our class is going for three-week unit on colonial and early American portraits. Each week, will spend a thirty minutes in the galleries, learning about the portraits, and then an hour in the studio working on painting a portrait. Week 14: Crossing the Delaware Activity 1: 3-D Map Each student will make an interactive 3-D map. You can find the lesson plan (which is excellent) and all of the materials to print in the book Interactive 3-D Maps: American Revolution. The map allows you to teach about Washington crossing the Delaware. The front cover of the book states the projects are “maps that students make and manipulate to learn key facts and concepts – in a kinesthetic way!” My kids love them. Activity 2: The Painting We’ll look at the famous painting, seen at the right, and analyze what was accurate and inaccurate. This website does a great job discussing the painting. We’ll also look closely at who was in the boat with Washington. (See page for a description of who was in the boat.) Activity 3: Writing Skits Students will get in groups of three or four, each one taking on a character from the boat. They will write a quick character description with a bit of history (where are they from, how did they end up in the boat, etc). Then they will come up with a skit, showing the three or four characters in one fictional scene that took place sometime before the night crossing of the river. Homework: Watch: Episodes 20-24 Week 15: Valley Forge Activity 1: Rules of Civility and Decent Behavior Choose 5 that you believe are important and then rewrite them in your own words. The rules can be found here. Activity 2: Yankee Doodle Dandee Learn song’s original meaning and write new lyrics based on two event we have studied. For background knowledge and lyrics, read pages 4-8 of this lesson plan, from the Education Department of the Mount Vernon Estate and Gardens. Activity 3: Battles of the Revolution Board Game Ask, “What tasks did the Patriots have to complete to become a free nation? (Be sure to include both military and civilian tasks.)” Make a list as a class. Working together, students will make a Candyland-like board game with tasks to be completed on the way to British Surrender at Yorktown. Break them into pairs. One pair will have to draw a game board, with blank squares and designated squares for tasks. They should also draw a picture of Yorktown at the end. One group will have to make four figures to compete to be the first to Yorktown. One pair should make playing cards without task pictures on them. (They can do colors, like Candyland, or numbers.) The remaining pairs will them draw task pictures on the board game and the playing cards. (You’ll need to have cardboard, markers, cut up index cards, and materials for the figures available for the students to work with.) With remaining time, students can play the game they designed. Homework: Read Forge by Laurie Halse Anderson; Rewrite 10 more of Washington’s Rules in your own words. Week 15B: Museum of Fine Arts Field Trip This is the second of a three-week unit on colonial and early American portraits. Week 16: African American Patriots On The Freedom Trail Field Trip The Freedom Trail in Boston offers a tour focused on the role of African American patriots. The website describes the tour: We take visitors through historic events of the American Revolution and the contributions of African-Americans such as Crispus Attucks and others who played a significant role in the country’s formation. Tales of intrigue and bravery, poetry and defiance by Black Boston townspeople in the 18th century will unfold during this unique 90 minute tour of the Freedom Trail. See the Revolution through the eyes of these sailors and soldiers, writers and craftsmen, men and women of the day. Week 16B: Museum of Fine Arts Field Trip This is the third of a three-week unit on colonial and early American portraits. Week 17: Forge Activity 1: Quill Pen Activity 2: Colonial Money Activity 3: Cup of Doom Find an old soccer ball and in each hexagon, write a discussion question with a permanent marker. Have students sit in a circle and tell them that you are going to throw the ball to someone. You will say his or her name before you throw the ball. When the student catches it, he or she has to read and answer whatever question is under the left thumb. After answer the question, students say the name of another student and throw them the ball. Eventually, you can click here to see the questions I wrote on the soccer ball. If students don’t answer a question correctly or well, they have to draw a popsicle stick from the Cup of Doom. Each stick has a different ‘punishment,’ like doing 10 pushups or dancing like a chicken for 30 seconds. (Be prepared for kids to throw the question so that they can pick from the Cup of Doom. They love it!) Homework: Watch: Episodes 31-36, and Episode 4 of John Adams. Answer one of the two questions in response to Forge. Week 18: Yorktown Activity 1: History Pocket As students walk in, they’ll find a spot around the table and begin to work on their portfolios, folders with projects that I copies from History Pockets: American Revolution. From Pocket Number 6, they will highlight interesting facts from page 69; learn about secret codes and crack one of Benedict Arnold’s most important messages to the British Army; and construct a Cardan mask, a special paper cutout used to reveal secret messages and place the mask over a historical letter to reveal the letter’s true content. Activity 2: “Bingo” I created Bingo-type cards, with the names of: Slogans; Patriots; British and Traitors; Battles; Authors & Novels. I put clues on slips of paper, and pulled them out of a bowl. Students used highlighters to fill in their cards. We played until someone had a bingo. Eventually, you can click here to see the cards and clues. Activity 3: Yorktown We’ll watch a History Channel video of Yorktown and discuss. Homework: Watch: Episodes 37-40, and Episode 5 of John Adams. Read: Preamble to Constitution Week 19: Birth of a Nation Activity 1: History Pocket As students walk in, they’ll find a spot around the table and begin to work on their portfolios, folders with projects that I copies from History Pockets: American Revolution. From Pocket Number 7, they will highlight interesting facts from page 81; rewrite 10 articles from the Treaty of Paris in their own words; color in the Great Seal and learn the meaning behind its symbols; and rewrite the Preamble to the Constitution. Activity 2: “Three Ring Government” & “Preamble” Activity 3: Electing the 1st President The election of the first President was by appointed electors, not by a general election. All states that had approved the Constitution by the first Wednesday in January 1789 would appoint electors on that day. Those electors would assemble on the first Wednesday in February 1789 and vote for a President, and the business of running the government under the new constitution would begin a month later. Using a copy of the Senate journal, from April 6, 1789, students will work in pairs to make a bar graph of the electoral votes for the 1st president. We’ll discuss which states had the largest and smallest populations, and what might have changed the election’s outcome. Week 20: Independence Hall National Historical Park Field Trip We’ll visit the park (Liberty Bell, Independence Hall, Ben Franklin’s Print Shop, etc). We’ll complete the following activities in the Junior Ranger Guide: 1-Liberty Bell Center; 2-Independence Hall; 6-Congress Hall; 9-Printing Office. When they are done, we’ll return to the visitor’s center so that kids can take their oath and receive their badge. We’re driving down the night before and getting a hotel. Of course, staying in a hotel and swimming in the hotel pool will be every child’s favorite memory of the class. Which makes me question the gazillion hours I just spent working on this curriculum. Because the boys and I love unit studies, we are doing a bit more with the Revolution than we can fit into the 20-week class we are doing with other homeschoolers. Here are a few more ideas and resources: - See Time Fly – This series of books provide a timeline of the history of Western Civilization. The purpose is twofold: (1) to develop concept imagery for language comprehension and critical thinking, and (2) to teach an imaged timeline of history. Each “flight,” or section, provides high-imagery paragraphs and beautiful artwork to help students visualize important events, periods, or people who changed history. We used the book for our Ancient China unit, and we all love it. For this unit, we are reading the sections on Ancient Greece and Rome and Scandanavia. - Timelines – I am a kind of obsessed with making sure that the kids have something I never did, a sense of how all of the history I learned fits together, in other words an imaged timeline. In addition to the See Time Fly series, we have a giant timeline around the ceiling of the boys’ room, from which we hang picture of things we are studying. And then we enter those dates into our Wonders of Old books, which they can keep throughout high school, building an ever more elaborate internal timeline. - A Wall Map of the United States – By now, our wall maps are tattered and smudged with peanut butter. But the boys still love maps, and as we study more parts of the world, the connections they make continue to grow. - Trips to Mount Vernon and Monticello, the homes of Washington and Jefferson. We visit Virginia often, so they are easy trips. We’ve already been to Mount Vernon and loved it so much we became members. - A Trip to the National Archive to see the Declaration of Independence, The Constitution and The Bill of Rights. If you want to read more about some of the ideas on this page, you may want to read these posts:

<urn:uuid:f4991849-db76-483e-98a3-7f1ec486d578>

CC-MAIN-2023-40

https://www.patheos.com/blogs/homeschoolchronicles/curriculum/american-revolution-unit-for-elementary-students/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506632.31/warc/CC-MAIN-20230924091344-20230924121344-00183.warc.gz

en

Different Learning Styles: The Role of Learning Styles in Education In the field of education, understanding and catering to different learning styles has been a topic of significant interest and research. Learning styles refer to various approaches individuals adopt when acquiring new knowledge or skills. While some students may excel in traditional classroom settings that emphasize auditory learning through lectures, others may struggle and require more hands-on or visual methods for effective comprehension. For instance, imagine a hypothetical scenario where a student named Alex struggles to grasp mathematical concepts in a conventional classroom environment but excels when presented with real-life examples and interactive activities. These varying learning styles have prompted educators to explore alternative teaching strategies that can accommodate diverse learners, ultimately enhancing educational outcomes. The role of learning styles in education is not only relevant to individual student success but also impacts overall instructional practices. Recognizing that each learner possesses unique preferences and strengths allows teachers to design lessons that cater to diverse needs within their classrooms. By incorporating multiple modalities such as visual aids, group discussions, or kinesthetic exercises into their curriculum, educators can provide opportunities for all students to engage actively with the material being taught. This inclusive approach acknowledges the fact that no single teaching method suits every learner and encourages flexibility within educational environments. Consequently, by embracing the concept of different learning styles, schools can foster an inclusive atmosphere where all students feel valued and supported in their learning journey. Moreover, understanding learning styles can also help educators identify potential barriers to student success. By recognizing that a student’s struggle may be due to a mismatch between their preferred learning style and the instructional approach used, teachers can adjust their methods accordingly. For example, if a student named Sarah consistently struggles to understand science concepts through reading textbooks but excels when conducting experiments or observing demonstrations, her teacher can provide more hands-on opportunities for her to engage with the subject matter. This personalized approach not only enhances Sarah’s understanding but also boosts her confidence and motivation. In addition to individualizing instruction, knowledge of learning styles can inform the creation of diverse assessment methods. Traditional assessments such as written exams may favor students who excel in auditory or linguistic learning styles. However, by incorporating alternative assessment formats like presentations, projects, or practical demonstrations, educators can better evaluate students’ comprehension across different modalities. This ensures that all learners have an equal opportunity to demonstrate their knowledge and skills without being limited by a singular assessment format. Overall, recognizing and accommodating different learning styles in education is crucial for promoting inclusivity and maximizing student success. By embracing this concept, educators can create classrooms that cater to diverse needs, foster engagement and motivation among students, overcome potential barriers to learning, and enhance overall educational outcomes. Understanding Visual Learners One example of a visual learner is Sarah, a high school student who excels in subjects such as art and graphic design. When given written instructions for an assignment, she often struggles to comprehend the task fully. However, when presented with diagrams or images that visually represent the information, she quickly grasps the concept and can articulate her understanding effectively. Visual learners process information primarily through their sense of sight. They rely on visual aids such as charts, graphs, maps, and videos to enhance their learning experience. These individuals have a strong ability to visualize concepts and ideas mentally. As a result, they tend to excel in subjects like mathematics, science (particularly biology), geography, and art. To evoke an emotional response from the audience while discussing visual learners: - Increased engagement: Incorporating visuals into lessons captures students’ attention and makes the learning process more enjoyable. - Enhanced comprehension: Visual aids help simplify complex information by presenting it in a clear and organized manner. - Improved memory retention: The use of visuals can stimulate long-term memory recall by creating mental associations between information and its corresponding image. - Boosted creativity: Visual learners thrive in creative environments where they can express themselves through artwork or other visual mediums. Table 1 below highlights various characteristics commonly associated with visual learners: |Strong visualization skills||Can form clear mental pictures| |Preference for diagrams & charts||Understands information better when presented visually| |Excellent spatial awareness||Easily interprets maps and directions| |Reliance on color-coded systems||Organizes thoughts using colors| In summary, Understanding Visual Learners requires recognizing their preference for processing information through visual stimuli. By incorporating appropriate visuals into educational materials and activities, educators can create engaging lessons that cater to these students’ unique needs. Transitioning seamlessly into the subsequent section about “Exploring Auditory Learners,” we will now delve into another learning style that plays a crucial role in education. Exploring Auditory Learners Visual learners, as the name suggests, prefer to process information through visual aids and demonstrations. They rely heavily on seeing images, diagrams, charts, and other visual representations to understand concepts effectively. For instance, imagine a classroom scenario where the teacher is explaining fractions using colorful pie charts. The visual learner in this case might grasp the concept easily by observing these visuals rather than relying solely on verbal explanations. - Visual learners often excel at tasks that involve spatial reasoning and pattern recognition. - They have a keen eye for detail and tend to remember information better when presented visually. - Visual aids can enhance their comprehension and retention of complex ideas. - Engaging with visuals fosters creativity and encourages them to think outside the box. In addition to incorporating bullet points into our discussion, let us also delve into a table that emphasizes how visual learners benefit from specific instructional strategies: |Use of diagrams||Presenting information in graphical form||Creating flowcharts to explain processes| |Utilizing graphic organizers||Organizing thoughts or concepts visually||Outlining main ideas using mind maps| |Incorporating multimedia||Incorporating videos, animations, or interactive elements||Using educational software or online resources| By utilizing these effective techniques tailored specifically for visual learners, educators can foster an inclusive learning environment that supports all students’ needs. In doing so, they enable visual learners to thrive academically while also enhancing their overall engagement and motivation within the classroom setting. Having explored how visual learners best absorb knowledge through visual cues and demonstrations, we will now shift our focus towards auditory learners who learn most effectively through listening and hearing. Uncovering Kinesthetic Learners Exploring Auditory Learners has shed light on one of the prominent learning styles, highlighting the significance of auditory stimuli in facilitating effective learning. Now, let us delve into another intriguing learning style: Kinesthetic Learners. Imagine a classroom where students are actively engaged in hands-on activities to grasp new concepts. One example that illustrates the role of kinesthetic learning is a science experiment conducted by a group of high school students. In this experiment, students were tasked with understanding the principles of gravity and motion. Instead of passively listening to lectures or reading textbooks, they had an opportunity to construct their own mini roller coasters using materials provided by their teacher. Through this experiential approach, these kinesthetic learners not only comprehended the scientific concepts but also enhanced their problem-solving skills. - Enhanced engagement: Kinesthetic learners often exhibit higher levels of enthusiasm and motivation when actively participating in physical tasks. - Improved retention: The combination of movement and multisensory experiences aids in solidifying memory recall and long-term retention. - Tailored instruction: Educators can employ strategies such as interactive simulations and role-playing exercises to accommodate kinesthetic learners’ needs. - Holistic development: Engaging kinesthetically allows individuals to develop crucial life skills like teamwork, critical thinking, and adaptability. The table below provides a snapshot comparison between auditory learners and kinesthetic learners: |Aspect||Auditory Learners||Kinesthetic Learners| |Preferred Activities||Listening to lectures||Participating in hands-on activities| |Learning Environment||Quiet environments||Active classrooms| |Study Strategies||Verbal repetition||Physical demonstrations| |Strengths||Strong auditory processing abilities||Exceptional motor skills| As we explore different learning styles, it becomes evident that the diversity of students’ preferences and needs must be acknowledged. Insights into Reading/Writing Learners will further contribute to our understanding of how educators can cater to various learning styles effectively. [Transition Sentence]: With this in mind, let us now delve into the characteristics and strategies employed for individuals inclined towards reading/writing as their primary mode of learning. Insights into Reading/Writing Learners As we continue our exploration of different learning styles, let us delve into the fascinating world of kinesthetic learners. These individuals thrive on physical movement and actively engaging with their environment to enhance their understanding and retention of information. To illustrate this learning style, consider the case study of Alex, a high school student who struggles to concentrate during lectures or while reading textbooks. However, when given the opportunity to participate in hands-on activities such as conducting experiments or building models, his performance improves significantly. This example highlights how kinesthetic learners benefit from incorporating tactile experiences into their learning process. Understanding the unique needs of kinesthetic learners can revolutionize educational practices and facilitate effective teaching strategies. Here are some key insights into this learning style: - Physical involvement: Kinesthetic learners prefer activities that involve movement and manipulation of objects. - Multi-sensory approach: Incorporating visual aids, auditory cues, and tactile elements can enhance comprehension for these learners. - Real-life applications: Connecting concepts to real-world scenarios helps kinesthetic learners grasp abstract ideas more effectively. - Active participation: Providing opportunities for active engagement through role-playing, simulations, or interactive exercises promotes deeper understanding among kinesthetic learners. Let us now explore these insights further by examining them in a table format: |Key Insights Into Kinesthetic Learning| |1. Physical involvement| |2. Multi-sensory approach| |3. Real-life applications| |4. Active participation| By implementing appropriate instructional methods tailored to the needs of kinesthetic learners like Alex, educators can foster an inclusive classroom environment that promotes optimal learning outcomes for all students. Transitioning seamlessly into our next section about “The Power of Social Learners,” we will explore how students who thrive in group settings can contribute to collaborative learning experiences. The Power of Social Learners Reading and writing learners have a distinct approach to acquiring knowledge, predominantly relying on written materials as their primary mode of learning. These individuals comprehend information best when it is presented in textual form, such as through textbooks, articles, or written instructions. To illustrate the characteristics of Reading/Writing Learners, let’s consider an example: Imagine Sarah, a high school student who excels in subjects that involve extensive reading and writing assignments. When preparing for her history exam, she meticulously reads through her textbook chapters multiple times, highlighting key points and taking detailed notes. She then organizes this information into well-structured outlines and writes comprehensive essays to solidify her understanding. Understanding the unique needs of reading/writing learners can enhance educational practices to better accommodate them. Here are some considerations for educators: - Provide ample opportunities for reading: Offer a variety of texts, including different genres and formats (e.g., articles, short stories) that align with the curriculum objectives. - Encourage active note-taking strategies: Teach students effective methods like summarizing text sections using bullet points or annotating important details. - Promote critical thinking skills: Engage reading/writing learners in activities that require analysis and evaluation of written material to foster deeper comprehension. - Incorporate writing tasks across subjects: Assignments that prompt students to express their thoughts in writing not only reinforce content understanding but also develop their communication skills. Table: Strategies for Supporting Reading/Writing Learners |Journaling||Encouraging regular reflective writing helps these learners process concepts more deeply.| |Graphic Organizers||Visual tools like concept maps or Venn diagrams help organize ideas before putting them into written form.| |Peer Review||Providing opportunities for constructive feedback supports improvement in structuring arguments and refining expression.| |Authentic Writing Tasks||Connecting classroom activities to real-world scenarios allows learners to practice applying their writing skills in relevant contexts.| By embracing these strategies, educators can foster an environment conducive to the learning needs of reading/writing learners. Harnessing their potential allows for a more inclusive educational experience that accommodates diverse learning styles. Transition into the subsequent section about “Harnessing the Potential of Solitary Learners”: Understanding the distinct characteristics of reading/writing learners provides valuable insight not only into their specific needs but also highlights the importance of recognizing other learning styles. In exploring different approaches to education, it becomes evident that solitary learners possess unique traits and require tailored instructional methods to maximize their potential. Harnessing the Potential of Solitary Learners Continuing from our exploration of different learning styles, let us now delve into the world of solitary learners. These individuals thrive in independent study environments and prefer working alone to absorb information effectively. To better understand their unique characteristics, consider the case of Emily, a high school student who excels when given the opportunity to engage with educational resources individually. Emily finds solace in her own company while studying. She enjoys creating personalized study plans and setting specific goals for each session. When she has control over her learning environment, such as choosing a quiet corner at home or utilizing online platforms tailored to her needs, Emily is able to maximize her focus and productivity. This example illustrates how solitary learners can flourish by embracing their preferences and leveraging strategies that cater to their strengths. To further highlight the significance of catering to solitary learners’ needs, we present four key considerations: - Autonomous Learning: Solitary learners thrive on autonomy and self-direction in their studies. Providing them with opportunities to take charge of their education fosters a sense of ownership and empowerment. - Flexible Scheduling: Offering flexibility in scheduling allows solitary learners like Emily to structure their study time according to their individual pace and rhythm. - Varied Resources: Supplying diverse resources enables solitary learners to explore various mediums that align with their interests and motivations, promoting an engaging learning experience. - Reflection Opportunities: Encouraging moments for reflection aids Solitary Learners in processing information independently and consolidating knowledge gained through contemplation. By acknowledging these considerations, educators can create an inclusive environment that supports solitary learners’ growth and success academically. In light of this discussion on harnessing the potential of solitary learners, it is important to recognize that there are other prominent learning styles yet to be explored fully. In the following section about “Strategies for Engaging Visual Learners,” we will examine effective methods for facilitating visual learners’ comprehension within educational settings. Strategies for Engaging Visual Learners Transitioning from the previous section focused on solitary learners, we now turn our attention to strategies that can effectively engage visual learners in educational settings. To illustrate the significance of catering to this learning style, let us consider a hypothetical scenario involving a high school biology class. In this classroom, Ms. Johnson recognizes the diverse range of learning styles among her students and is aware that some individuals thrive when information is presented visually. One student, Lisa, exhibits strong visual learning preferences. To accommodate Lisa’s needs and support her academic success, Ms. Johnson implements various strategies tailored specifically for visual learners. To establish an engaging environment for visual learners like Lisa, educators can employ the following techniques: - Utilize visual aids such as charts, diagrams, and graphs to enhance comprehension. - Incorporate multimedia resources like videos or interactive presentations to facilitate understanding. - Encourage note-taking with color-coded pens or markers to help organize information visually. - Implement hands-on activities that involve creating visuals or mind maps to reinforce concepts. By implementing these strategies, teachers can foster an inclusive classroom where visual learners feel supported and motivated to actively participate in their own education. To further emphasize the importance of accommodating different learning styles, consider Table 1 below which highlights key characteristics of visual learners: |Think in pictures||Engagement| |Interpret body language||Connection| |Benefit from demonstrations||Enthusiasm| Table 1: Key Characteristics of Visual Learners Understanding these emotional responses associated with visual learning provides insight into how educators can create an impactful learning experience for this particular group of students. As we delve deeper into exploring effective teaching methods for auditory learners in the subsequent section, it becomes evident that tailoring instruction based on individual learning styles not only maximizes engagement but also enhances the overall learning outcomes for students of diverse backgrounds and abilities. Next section: Techniques for Maximizing Learning for Auditory Learners. Techniques for Maximizing Learning for Auditory Learners By understanding and catering to their preferred learning style, educators can create an inclusive and effective classroom environment. One example of a technique that benefits auditory learners is incorporating group discussions into the lesson plan. Providing students with opportunities to engage in meaningful conversations allows them to process information through verbal interaction. For instance, in a literature class studying Shakespeare’s plays, students could be divided into small groups and assigned different scenes to analyze and discuss. This not only encourages active participation but also enhances comprehension as they hear different perspectives from their peers. To further support auditory learners, here are some additional techniques: - Utilize audio recordings: Supplementing written materials with audio recordings of lectures or readings enables Auditory Learners to reinforce their understanding by listening repeatedly. - Interactive storytelling: Engage students’ imaginations through interactive storytelling sessions where they can listen attentively while visualizing the narrative unfold. - Podcasts or interviews: Incorporate podcasts or recorded interviews relevant to the subject matter as supplementary resources for students to listen to outside of class time. - Mnemonic devices: Teach mnemonic devices such as acronyms or rhymes that rely on auditory cues, making it easier for auditory learners to remember complex information. |Audio recordings||Provide pre-recorded lectures or readings as supplementary material| |Interactive storytelling||Engage students in imaginative narratives that stimulate their listening skills| |Podcasts or interviews||Integrate relevant podcasts or interviews into the curriculum for independent listening| |Mnemonic devices||Teach memory aids like acronyms or rhymes that utilize sound patterns| In conclusion, implementing these techniques acknowledges and accommodates the strengths of auditory learners within the educational setting. By actively engaging with auditory stimuli and facilitating discussions, educators can enhance the learning experience for these students. Moving forward to the next section on “Activities to Enhance Learning for Kinesthetic Learners,” let us explore strategies that cater specifically to those who learn best through hands-on experiences. Activities to Enhance Learning for Kinesthetic Learners To illustrate the impact of these activities, let’s consider an example where a group of high school students is studying biology. One student, Alex, learns best through hands-on experiences and physical movement rather than traditional lectures or visual aids. To cater to kinesthetic learners like Alex, educators can incorporate various activities into their teaching strategies. Here are some examples: Experiential Learning Opportunities: - Conducting experiments in science classes allows kinesthetic learners to actively engage with the subject matter. - Performing hands-on dissections or building models fosters a deeper understanding of biological concepts. - Organizing simulations and role-playing exercises enables kinesthetic learners to physically experience different scenarios. - For instance, acting out historical events or reenacting scientific processes encourages active participation and enhances comprehension. - Incorporating movement-based games into lessons promotes learning through physical activity. - Designing interactive quizzes where students move around the classroom to answer questions improves information retention and overall engagement. - Assigning collaborative projects such as creating presentations or designing experiments allows kinesthetic learners to work together while actively applying their knowledge. - By engaging in hands-on tasks alongside their peers, these learners gain valuable practical experience and develop teamwork skills. Table: Benefits of Kinesthetic Learning Activities |Activity Type||Emotional Response| |Role-Playing||Engagement and Enthusiasm| |Movement-Based Games||Energetic Participation| |Collaborative Projects||Teamwork and Sense of Achievement| By incorporating these activities tailored to kinesthetic learners, educators can create an inclusive learning environment that caters to diverse learning preferences. The utilization of experiential learning opportunities, role-playing exercises, movement-based games, and collaborative projects not only enhances the educational experience for kinesthetic learners like Alex but also ensures a more comprehensive understanding of the subject matter by actively involving all students. Transitioning into the subsequent section about approaches to cater to reading/writing learners, it is essential to consider strategies that specifically address their unique needs. Approaches to Cater to Reading/Writing Learners To effectively cater to visual learners, educators can employ various approaches that capitalize on the strengths of these individuals. One approach is through the use of visual aids and materials during instruction. For instance, in a science class discussing the solar system, teachers may incorporate colorful diagrams or images of planets and their orbits, enabling visual learners to better comprehend complex concepts. Another method involves utilizing graphic organizers and mind maps. These tools visually represent information by organizing it into hierarchies or webs, aiding visual learners in understanding relationships between different ideas. For example, when studying literature, students could create a mind map connecting characters, themes, and plot elements to visualize how they interrelate. Moreover, incorporating videos and multimedia presentations into lessons can greatly benefit visual learners. By presenting information in a dynamic format with moving visuals and relevant graphics, these learners are more likely to engage with the material and retain key details. This approach not only enhances comprehension but also stimulates interest among students who thrive on visual stimuli. - Improved engagement: Tailoring instructional methods for visual learners increases their active participation. - Enhanced retention: Visual representations enable these individuals to remember information more effectively. - Increased motivation: Utilizing visually stimulating materials fosters enthusiasm for learning. - Greater academic success: When provided with appropriate strategies, visual learners demonstrate improved performance. Additionally, we present a table showcasing examples of effective approaches for catering to visual learners: |Use of diagrams and charts||Illustrating scientific processes using labeled diagrams| |Graphic organizers||Creating concept maps to connect historical events| |Multimedia presentations||Incorporating interactive animations in geography lessons| In conclusion [Avoid saying “In conclusion” here], by employing these approaches tailored specifically for visual learners, educators can create an inclusive learning environment that enables all students to thrive. Transitioning into the subsequent section about “Promoting Collaboration among Social Learners,” it is important to recognize that different individuals possess unique learning styles, and fostering collaboration allows for a well-rounded educational experience. Promoting Collaboration among Social Learners Approaches to Cater to Reading/Writing Learners often involve utilizing strategies and techniques that align with their preferred learning style. However, it is equally important to acknowledge and accommodate the needs of social learners in educational settings. Social learners thrive in environments where they can collaborate, discuss ideas, and work together with their peers. By Promoting Collaboration among Social Learners, educators can create a more inclusive and engaging learning experience. To illustrate the significance of catering to social learners, let’s consider an example scenario. Imagine a classroom where students are assigned group projects as part of their coursework. In this case, social learners would benefit greatly from the opportunity to brainstorm ideas, share perspectives, and collectively solve problems with their teammates. This collaborative approach not only allows them to develop a deeper understanding of the subject matter but also fosters interpersonal skills such as communication, teamwork, and leadership. In order to effectively promote collaboration among social learners, educators can employ various strategies: - Encourage group discussions: Provide designated time for students to engage in open-ended conversations about topics related to their coursework. - Assign group projects or activities: Create opportunities for students to work collaboratively on assignments that require sharing responsibilities and coordinating efforts. - Implement peer-to-peer feedback sessions: Facilitate structured feedback sessions where students can provide constructive criticism and support each other’s growth. - Foster an inclusive classroom environment: Emphasize respect for diverse opinions and create a safe space for individuals to express themselves without fear of judgment. By adopting these approaches, educators can foster a positive learning environment that nurtures collaboration among social learners while also enhancing their overall academic performance. Transitioning into the subsequent section about “Empowering Solitary Learners for Success,” it is essential to recognize that not all students have a preference for collaborative learning experiences. There are also solitary learners who excel when given personal space and autonomy over their studies. Understanding how to empower these individuals will be explored further in the following section. Empowering Solitary Learners for Success As we delve further into exploring the different learning styles, it is essential to understand how educational institutions can effectively promote collaboration among social learners. By recognizing and accommodating the needs of these individuals, educators can create an environment that fosters teamwork, communication, and relationship-building. One example of promoting collaboration among social learners is through project-based learning activities. For instance, a hypothetical case study involving a group of high school students working on a science project highlights the significance of this approach. The teacher assigns each student with specific roles within the group, allowing them to utilize their unique strengths. Through collaborative discussions, brainstorming sessions, and cooperation in conducting experiments or research, these students not only enhance their understanding of scientific concepts but also develop vital interpersonal skills. - Increased engagement and motivation - Enhanced critical thinking and problem-solving abilities - Improved communication and leadership skills - Strengthened empathy and respect for diverse perspectives |Group projects||Assigning tasks that require teamwork||Enhances cooperation and builds relationships| |Peer-to-peer learning||Encouraging students to learn from each other||Fosters knowledge sharing and mutual support| |Classroom discussions||Facilitating open dialogue||Promotes active participation and idea exchange| |Collaborative technology platforms||Utilizing digital tools for shared online work||Provides opportunities for virtual teamwork| By incorporating these strategies into educational settings, teachers can cultivate an inclusive culture where social learners thrive academically while honing valuable collaborative skills. It is important to note that while promoting collaboration among social learners, it is equally crucial to strike a balance and provide opportunities for solitary learning experiences. In summary, fostering collaboration among social learners not only benefits their academic growth but also equips them with vital interpersonal skills necessary in various aspects of life. By implementing strategies such as project-based learning activities, peer-to-peer learning, classroom discussions, and collaborative technology platforms, educators can create an inclusive environment where social learners flourish both academically and socially.

<urn:uuid:4ee09136-41ac-4757-a842-f618e47b8d0a>

CC-MAIN-2023-40

https://vicvirtual.net/learning-styles/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506028.36/warc/CC-MAIN-20230921141907-20230921171907-00183.warc.gz

en

Plato (c. 428 B.C.E. – c. 348 B.C.E.) was a Greek philosopher and is perhaps the most famous and influential thinker in the history of Western thought. He was a student of Socrates and a teacher of Aristotle. He founded the Academy in Athens where he lectured and taught. He also wrote dialogues on a variety of philosophical subjects such as metaphysics, epistemology, ethics, psychology, politics, and aesthetics. Because he wrote in dialogue rather than treatise form, however, his ideas on these subjects are not systematically analyzed but presented in the more ambiguous and ironic form of the drama. This has resulted in a variety of interpretations of Plato’s work and debates continue today over the precise meanings of his main philosophical ideas. Among the most famous of his philosophical contributions are the accounts he provides of his teacher Socrates and the Socratic method of teaching, his doctrine of the Ideas or “forms,” his theory of recollection, and his notion of dialectic as collection and division. His Republic remains one of the classic works in all of western civilization. Plato was born in Athens in approximately 428 B.C.E. He was raised in a moderately wealthy, aristocratic family with high political connections. His father was named Ariston and his mother Perictione. According to a late Hellenistic account by Diogenes Laertius, Plato's given name was Aristocles. Various alternatives are offered at how Plato received his name. One possibility is that his wrestling coach, Ariston of Argos, dubbed him "Platon" (meaning "broad") on account of his robust figure. Another alternative is that his name derived from the breadth (platutês) of his eloquence, and still a third from the fact that he was very wide (platus) across the forehead. In any case, in his youth Plato was a gifted wrestler and his intellectual abilities were so advanced that his fellow Greeks declared him to be the son of Apollo. In fact, it was rumored that in his infancy bees had settled on his lips as a prophecy of the honeyed words which would flow from them. At some point in his youth Plato became a devoted pupil of Socrates, the famous “wandering scholar” who sat on the street corners of Athens and engaged the young men of the city in intellectual discussions. It was primarily through the texts of Plato, in fact, that we learn of the life, teachings, and death of Socrates. It is considered a matter of record that Plato attended his master's trial and execution so that the Apology, although written in dramatic form is nonetheless considered to be a fairly accurate historical account. Moreover as he was deeply affected by the city's unfair treatment of Socrates much of Plato’s work is devoted to the problem of social and political injustice. During the twelve years following the death of Socrates, Plato traveled extensively throughout Italy, Sicily, Egypt, and Cyrene. During his travels, however, he did not merely wander about in search of pleasure but rather engaged in a sustained and comprehensive quest for knowledge. After his return to Athens at the age of 40, Plato founded one of the earliest known organized schools in Western civilization on a plot of land in the grove of Academe. The “Academy,” as it was famously called, was a large, protected plot of land that was supposedly named after either an Athenian citizen named Academus or else some ancient Greek hero. The school operated until 529 C.E., which makes it the longest running academic institution in the history of western civilization. Many intellectuals were schooled in the Academy, the most prominent one being Plato’s pupil Aristotle. Plato died around 348 B.C.E. at the age of 80 or 81. Dialogue as a Philosophical Form Although not the first Greek philosopher, Plato is arguably the most famous and influential; the twentieth-century philosopher Alfred North Whitehead famously said that the history of philosophy is merely a footnote to Plato. One of the main reasons for Plato’s primacy is that in Plato we have the first collected body of philosophical literature. Unlike Socrates, who did not write at all and unlike the pre-Socratics whose writings are retained in fragmented form in Plato, there is a body of work which scholars have pored over for centuries. Interestingly, however, unlike Aristotle, Plato did not write in the form of philosophical treatises; rather he chose to write in the dramatic form of dialogue. Although the specific dialogues differ in various ways, in general they approach philosophical subjects through the conversation of characters, who pose questions to one another. In most of the dialogues Socrates figures as the protagonist and a number of interlocutors are defeated by his logical form of questioning initially known as “elenchus” and later in the more sophisticated form called “dialectic.” Some scholars believe that the nature of the dialogues changed a great deal over the course of Plato's life. According to this theory, works believed to date from earlier in Plato's life are more closely based on Socrates' thought, whereas later writings increasingly break away from the views of his former teacher. This theory holds that in the so-called middle dialogues, Socrates becomes a mouthpiece for Plato's own philosophy, and the question-and-answer style is more formal: the main figure represents Plato and the minor characters have little to say except "yes," "of course" and "very true," or "by Zeus, yes." The late dialogues, then, read more like treatises, and Socrates is often absent or quiet. It is assumed by defenders of this theory that while some of the early dialogues could be based on Socrates' actual conversations, the later dialogues were written entirely by Plato. The question of which, if any, of the dialogues are truly Socratic is known as the “Socratic problem.” Given that he wrote in the artistic style of a dialogue means that to some extent Plato can be considered a poet as much as a philosopher. This makes the reader’s interpretation of Plato’s texts more ambiguous and problematic, for the form of dialogue distances both Plato (as author) and the given reader from the ideas that are being discussed in the text. For this reason, scholars tend to read the dialogues in one of two ways. Some scholars choose to participate in the dialogues by concentrating on the ideas and arguments under discussion and in doing so ignore the “aesthetic” aspects, such as the personalities of the different characters, the use of irony, and the specific contexts in which the discussions take place. Other scholars, however, read the personalities, ironies, and contexts as contributing to the philosophical meanings contained within the text as well as Plato’s overall understanding of philosophical discourse. In doing this, the latter often interpret Plato as putting unpopular opinions in the mouth of unsympathetic characters (such as with Thrasymachus in the Republic). In this way, Plato lets his readers observe and compare the conversations that Socrates has with different characters and so ponder why some of these conversations are more fruitful than others. The exact order in which Plato's dialogues were written is not known, nor is the extent to which some might have been later revised and rewritten. However, according to scholars there is enough information internal to the dialogues to form a rough chronology, although the exact criteria to determine this chronology are often disputed. In any case, as mentioned above the dialogues are normally grouped into three fairly distinct periods, with a few of them considered transitional works, and some just difficult to place. So although the ordering is still highly disputed, the generally agreed upon chronology is divided into early, middle, and late dialogues. Socrates figures in all of these dialogues, and they are generally considered to be the most faithful representations of the historical Socrates; hence they are also called the “Socratic dialogues.” Most of them consist of Socrates discussing a subject, often an ethical one (such as friendship or piety) with a friend or with some presumed expert on the subject. Through a series of pointed questions Socrates usually demonstrates his interlocutor’s ignorance. These dialogues usually end inconclusively and so the reader is left to figure out how much Socrates (or the reader) really understands. These dialogues tend to be considered examples of Socrates’ method of "indirect teaching,” which allows readers to come to answers themselves without being directly told. This period also includes several pieces surrounding the trial and execution of Socrates. The dialogues from this period are as follows: - Lesser Hippias The following dialogues are variously considered transitional or middle period dialogues: Late in the early dialogues, Plato's Socrates actually begins supplying direct answers to some of the questions he poses and so puts forth positive doctrines on the subject under discussion. That is, he offers “hypotheses” or scientific regarding the various subject matter. This is generally interpreted to be the first appearance of Plato's own views. The perhaps most prominent idea offered in the middle dialogues is the idea that knowledge derives from unchanging forms or essences (“Doctrine of Ideas”). Other Platonic theories include the immortality of the soul, recollection, and specific doctrines about justice, truth, and beauty. The Symposium and the Republic are considered to be the centerpieces of Plato's middle period. In the Parmenides Plato presents a series of criticisms of his “Doctrine of Ideas,” which are often taken to indicate Plato's abandonment of this theory, though some scholars have challenged this characterization. In most of the remaining dialogues, however, the theory is either absent or at least appears under a different guise in discussions about kinds or classes of things. In these later dialogues Socrates is either absent or a minor figure in the discussion. An apparently new method for doing dialectic known as "collection and division" is also featured, most notably in the Sophist and Statesman. A basic description of collection and division would go as follows: interlocutors attempt to discern the similarities and differences among things in order to get a clear idea about what they in fact are. One understanding, suggested in some passages of the Sophist is that this is what philosophy is always in the business of doing and is doing even in the early dialogues. In the later dialogues, however, this way of doing philosophy is made explicit while it was only implicit in the earlier dialogues. Ethics and the Good As mentioned above, the early dialogues of Plato are usually considered to reflect the teachings of the historical figure Socrates. The greatest legacy of Socrates is perhaps his ethical striving for the “good life.” For both Socrates and Plato, the ethical life was inextricably connected to the intellectual life such that “the unexamined life is not worth living.” Now for the ancient Greeks, ethics was not as much about the instruction of moral rules as it was the cultivation of a “way of life” which involved both the acquisition of virtues as well as the practice of reflection. “Philosophy” involved both of these and only through the practice of both does one attain the happy or good life. This close connection between knowledge and goodness meant that “evil” was aligned with ignorance. This means that no one willing does evil, but only what one thinks to be good (i.e., the apparent good). The Socratic dialogues are devoted, then, to the questioning of what are individual virtues (e.g., friendship, piety) as well as what is virtue itself. Whereas the early Socratic dialogues raise significant ethical questions by refuting those who are often reputed to be “wise” (such as the Sophists), these dialogues often end inclusively. Plato’s middle dialogues, on the other hand, tend to offer hypotheses (or possible answers) to such questions of what is justice (the Republic) or what is love (the Symposium). Plato’s analyses of these ethical concepts are usually presented by first considering the most popular or ordinary ways of thinking of these concepts and moves to higher more metaphysical ways of considering them. In fact, some interpreters view Plato’s philosophy as mystical such that the ethical or good life is essentially an ascent of the human soul to the Good. Other scholars, however, claim this mystical element is “read into” Plato texts (mainly by his followers, called the Neoplatonists). Instead these other commentators insist that Plato be understood as a rationalist. In any case, the one undeniable aspect that Plato shares with both his mentor Socrates and his pupil Aristotle is the centrality of the good life and the human search for happiness through the practice of philosophy. Plato’s Psychology and the Integrated Soul While pursuing the subject of justice in the Republic Plato examines the notion of the human soul (book IV). Although in the hindsight of 2,500 years it is easy to view Plato’s separation of the soul into three fundamental parts as being overly simplistic, in doing so we often overlook both the groundbreaking work Plato was doing as well as the complexity of his ideas when studied in the relation to the complete texts in which we find these ideas. In any case, Plato divided the soul into three parts: the appetitive part, the spirited or emotional part, and the intellectual part. The appetitive part seeks the fulfillment of various bodily pleasures such as food, drink, sex, etc. The spirited or emotional part seeks honor and dignity. Finally, the intellectual part seeks truth and knowledge. Although Plato is often thought of as a dualist who degrades the bodily desires in favor of the higher, intellectual pleasures of learning, it is important to see that his understanding of justice and the happiness of the human soul is directed at attaining a certain harmony or integration of the different parts or powers of ourselves. So he did not hold that we should “starve” the physical desires of our bodily appetites but merely to control them in an intelligent and wise manner. This means that the intellectual part or power must be in control, or otherwise our bodily desires will wreak havoc in its reckless striving for its own fulfillment (Plato uses the metaphor of a many-headed beast, which devours itself in self-consumption). But if our bodily appetites are to be directed by the intellect in an intelligently ordered way it requires the discipline of the spirited part to tame and to cultivate the bodily desires in an appropriate way. The harmonious or rightly ordered soul, then, is one which practices the virtues of each part. The virtue of the appetites is moderation; the virtue of the spirit is courage; the virtue of the intellect is wisdom. Through these virtues the human soul attains a certain concord or integrity, which Plato understood as the only real happiness worthy of the name. We should note, then, that Plato’s division into three parts was not intended to be exhaustive but merely points to the need for a well-ordered integration of all the different powers of our being in order to attain happiness. At the same time, however, we can see the longstanding impact his analysis of soul has had on western civilization, particularly in the Christian tradition where the soul is considered to be a tripartite relation of mind, body, and spirit. Moreover, various modern psychologies continually draw from Plato, such as Sigmund Freud’s theory of the ego, superego, and id. Finally, in the Phaedo, Plato offers arguments for the immortality of the soul such that philosophy is to be understood primarily as a preparation for death. Metaphysics and epistemology Theory of recollection One of the most famous elements in Plato’s philosophy is his theory of recollection. Although the exact nature of this theory is disputed, it is commonly held that Plato believed that all our ideas are innate such that all learning is a remembering. As said above, for Plato the soul is immortal. At birth, however, as the soul is cast into a body it is thrown into a state of forgetfulness. Learning, then, is a process of reawakening to what we already know in the depths of our souls but is nonetheless concealed to our normal, everyday consciousness. Plato often viewed the process of life as a moving from darkness or a state of sleep toward the light and full wakefulness. Given this view Plato viewed teachers such as Socrates to be not instructors who instill knowledge but rather as “midwives” whose job is simply to help give birth to those ideas that are already within us. In the Meno, for example, Plato presents Socrates at work with a slave-boy who initially thinks he knows the answer to a geometry problem but is shown that he really is ignorant. Once shown his own ignorance, however, the boy is “perplexed” and so is now ready to learn. Socrates walks him through the problem by asking the boy questions and eventually the boy arrives at the correct answer. Plato uses this example in order to demonstrate that our ideas are already within us, for how else could the boy “recognize” the correct answer. The example, though, hardly offers indisputable proof and so Plato’s theory of recollection has been widely contested by later philosophers, notably Aristotle. The Doctrine of Ideas Besides being devoted to Socrates, Plato was also deeply influenced by a number of earlier philosophers, known today as the “Pre-Socratics.” This included Pythagoras and Pythagoreans, whose notions of numerical harmony have clear echoes in Plato's notion of the Ideas; Anaxagoras, who was Socrates’ teacher and who held that the mind or reason pervades everything; Parmenides, who argued for the unity of all things and who may have influenced Plato's concept of the soul; and Heraclitus, who held that fire is the fundamental element of the universe and who also said that “all is in flux” or in a state of becoming. In regard to the theory of knowledge it was the attempt to find a “middle way” between Parmenides’ notion that “all is one” and Heraclitus’ notion that everything is in movement and so changing that led Plato to introduce his famous Doctrine of Ideas. Plato recognized with Heraclitus that everything in the material world is constantly changing. And yet, if we can acquire knowledge (and Plato thought we could), something must be stable or permanent such that when we know “it” we know the truth. For this reason Plato held that our “Ideas” were these stable and permanent entities that did not change. To know or “see” these Ideas is to know the truth, the unchangeable. Today, these ideas are often called “universals.” Plato considered philosophical knowledge to be closely aligned with mathematics because in math we achieve perfect knowledge (e.g., 2 + 2 = 4 and no other answer is possible). A mathematical example, then, helps us to understand his Doctrine of Ideas. For example, we can come to know the definition of a triangle: an enclosed three-sided figure whose lines are perfectly straight and whose angles add up to exactly 180 degrees. Now any individual or particular triangle that we draw, no matter how fine our technical instruments, will always be slightly flawed even if only by the smallest fraction (e.g., the angles only add up to 179.99999 degrees). These particular or material triangles, therefore, are imperfect. Moreover, since they were drawn in some material or sensible form means they can be destroyed (by burning the paper, chalkboard, etc.) What and where, then, is the perfect triangle? It must be an Idea, one that exists only in the immaterial realm that our minds can participate in. The Idea of a triangle, which is perfect, will never change. It is permanent, ideal, or eternal. Plato applied this theory, in turn, to all living things. The Idea of a human being is eternal, permanent and perfect (ideal), although we individual humans are mortal, changing, and imperfect. We will die (at least physically for Plato), though the Idea will not. The same holds for the Idea of dog or flower. All the individual human beings, dogs, and flowers merely participate in the one, eternal Idea (of Human Being, Dog, Flower). Plato’s theory of Ideas has led many scholars to consider his philosophy to be a “metaphysical dualism” (which is sometimes referred to as a “Platonic or metaphysical realism”) in that the Ideas are not merely abstract entities in our minds but ontological realities that exist in some higher, eternal realm. And so, Plato's metaphysics seems to divide reality into two distinct worlds: the intelligible world of Ideas, and the perceptual, sensible, or physical world of the earthly realm. The sensible world consists of imperfect copies of the intelligible Ideas. Again, these Ideas are unchangeable and perfect, and are only accessible and comprehensible by the use of the intellect or understanding. In Plato the intellect often seems to be equated with the soul so that essentially it does not include sensible perception or the imagination. In the Republic books VI and VII, Plato uses a number of metaphors or analogies to explain (or at least suggest) his metaphysical view. They are: the Analogy of the Sun, the Divided Line and the Allegory of the Cave. Taken together, these metaphors offer a complex but suggestive metaphysical and epistemological theory whose exact meaning significance, and relation scholars have debated for over two millennia. Let us look at each one in turn. Analogy of the Sun In all of Plato’s analogies it is important to remember that he often uses metaphors from the physical world in order to reflect a relation that is similar in the intellectual world. In the analogy of the sun, then, he compares the medium of light that allows us to perceive visible things as similar to the medium of understanding that allows us to perceive intellectual things. In order to see a physical object, like a tree, the organ of our eyes requires light to shine on the object we are seeing. Without the light we would see nothing, but remain in darkness. The source of the light that enables us to see is the sun. A similar relation holds in the intellectual world of our minds. In order to see an intellectual object (an idea) it requires the light of understanding. We may, at first, perceive an idea dimly. That is, we have a sense of what something means, but only vaguely. Often only after working at it or thinking about it, do we come to grasp the concept or idea in a precise and clear manner. That is, we understand it or “see” it for ourselves. But what, then, is the source of this light of understanding? Plato calls it the Good. The Good is comparable to the sun in being the source of all the Ideas and the source of the light that illuminates them so we can see or understand them. Analogy of the Divided Line In the Analogy of the Divided Line, Plato again divides the physical and intellectual worlds. In the center of the line there is a dividing mark which separates the two realms. Two other lines are drawn which further separate each of those two realms. There are, then, four distinct regions. On one side of the line Plato marks the human power that functions at a certain level of perception; on the other side of the line he marks the kind of object that is being perceived. So at the very bottom region there is the human power of imagination which perceives objects that are likened to shadows. This region is considered to be a kind of fantasy made possible by our power of dreaming. The objects we perceive are not “real” but fabricated or devised by our own fancy. In the next region we have the power of our senses through which we perceive actual physical objects (physical trees, flowers, humans, etc). As we saw earlier these objects in being physical are susceptible to change. For this reason, the “knowledge” we achieve of these sensible things is merely opinion. In the third region we have now passed from the sensible world to the intellectual world. The power we use here is the faculty of thought in which we now question and think about those things in the lower realm that we had merely perceived through our senses. In asking questions we inquire into what a flower or a tree or a human being really is. What is their nature or essence? In doing this, we begin to form hypotheses or possible answers to what these things really are. But only by passing into the fourth level do we arrive at knowledge in the full sense of the word. In this region we perceive through the power of understanding and now see the Idea itself. The exact nature of this fourth region is often debated about, but it would seem that for Plato in understanding the mind grasps the Idea through a kind of immediate intuition, a flash of illuminating recognition where we “see the truth.” We grasp the Idea of flower, tree, or human being. This Analogy of the Divided Line, then, suggests an ascending order in the degrees of knowing both in terms of the human faculty that is being used in knowing and the object which is being known or perceived. At the conclusion of the analogy Plato even suggests a highest order of knowing which relates to the analogy of the sun. This highest level of knowing is the direct perception of the source of light itself, that is, the Good. Allegory of the Cave Whereas the Analogy of the Divided Line is often criticized as being too static in its divisions of knowledge, the Analogy of the Cave captures in a more dynamic manner the idea of knowing as a passing through various stages. As with the Divided Line there are four distinct stages, which ultimately culminates in the mind’s beholding the Good, but in this analogy there is a more narrative structure, which suggests the journey of the soul in its ascent to the Good. The first stage depicts prisoners inside a cave whose bodies and necks are chained so that they so are forced to stare at the wall before them. Behind their backs is a great, blazing fire which casts light and before the fire are artifacts, which have been made in the form of real things like trees, animals, and human beings. Shadows of the artifacts appear like puppets on the wall and so from the prisoners’ perspectives these shadows appear to be real things, for they are the only reality they know. Stage two commences when one of the prisoners is suddenly freed from his chains and so is able to turn his head around. At first the strength of the light of the fire blurs his vision. Over time his eyes adjust, and so he begins to see the artifacts and the fire behind them. This, then, appears to be reality. Stage three begins when this prisoner is dragged along the path that winds up and out of the cave. Eventually the prisoner arrives above ground and out into the world above. He now beholds the daylight and his eyes are even more bedazzled. Again, it takes time to adjust but when he does he sees the reflections of things (such as trees, animals, and human beings) as they appear in the water of ponds. After that he enters stage four where he can look directly at the things themselves, the real trees, animals, and people. Finally, at the highest degree he looks up into the light itself and sees the sun. In this way, the former prisoner is finally free from the illusions below and is able to see things as they really are. In fact, he pities the prisoners below who are still in the dark and so only see images and imitations of real things but not the things themselves. Having arrived at this enlightened state (of philosophy) the man wishes he could remain above ground in contemplation of the light of truth. Having pity on those below who are still imprisoned, however, he descends back down into the cave. It is so dark, though, his eyes again need time to adjust and everything looks disoriented and unclear. Although the returned philosopher tries to help the others see, he is not welcomed but ridiculed. In fact, when he persists in revealing to them their illusions, he ultimately is killed. For the people prefer to live in the darkness than to make the difficult ascent into the light above ground. Throughout these stages, then, we see how Plato conceives the process of education and learning as an intellectual ascent from darkness into light. This ascent involves transitioning into higher degrees of knowledge that ultimately is aimed at beholding the Good itself. Moreover, we can see how the stages in the Allegory of the Cave correlate with the divisions in the Divided Line. The shadows on the cave wall are analogous to the shadows of the deluded images created by our imagination. The artifacts are like the physical objects that are illuminated by the fire of the physical sun. Making the ascent out of the cave and into the sunlight above is like moving from the sensible world into the intellectual world of the mind. Initially in asking questions we begin to think for ourselves and form pseudo-ideas of possible answers in the form of scientific hypotheses. Eventually, though, if persistent, we come to grasp the “real things,” so like the freed prisoner we now see in the light of day the Ideas themselves. Finally in the decent of the philosopher back into the cave we see Plato’s obvious allusion to Socrates as the enlightened one who in trying to open the eyes of his fellow citizens is greeted with death. Plato's philosophical views had many societal implications, especially on the idea of an ideal state or government. There is some discrepancy between his early and later views. Some of the most famous doctrines are contained in the Republic during his middle period. However, because Plato wrote dialogues, it is assumed that Socrates is often speaking for Plato. This assumption may not be true in all cases. Plato, through the words of Socrates, asserts that the ideal society would have a tripartite class structure corresponding to the appetite/spirit/reason structure of the individual soul. - Productive (Workers) — the laborers, carpenters, plumbers, masons, merchants, farmers, ranchers, etc. These correspond to the "appetite" part of the soul. - Protective (Warriors or Auxiliaries) — those who are adventurous, strong and brave; in the armed forces. These correspond to the "spirit" part of the soul. - Governing (Rulers or Guardians) — those who are intelligent, rational, self-controlled, in love with wisdom, well suited to make decisions for the community. These correspond to the "reason" part of the soul and are very few. According to this model, the principles of Athenian democracy (as it existed in his day) are rejected as only a few are fit to rule. Instead of rhetoric and persuasion, Plato held that reason and wisdom should govern. This does not equate to tyranny, despotism, or oligarchy, however. As Plato puts it: Until philosophers rule as kings or those who are now called kings and leading men genuinely and adequately philosophize, that is, until political power and philosophy entirely coincide, while the many natures who at present pursue either one exclusively are forcibly prevented from doing so, cities will have no rest from evils,... nor, I think, will the human race. (Republic 473c-d) Plato describes these "philosopher kings" as "those who love the sight of truth" (Republic 475c) and supports the idea with the analogy of a captain and his ship or a doctor and his medicine. Sailing and health are not things that everyone is qualified to practice by nature. A large part of the Republic then addresses how the educational system should be set up to produce these philosopher kings. However, it must be taken into account that the ideal city outlined in the Republic is qualified by Socrates as the ideal luxurious city, examined to determine how it is that injustice and justice grow in a city (Republic 372e). In addition, the ideal city is used as an image to illuminate the state of one's soul, and how the desires, emotions, and reason are combined in the human soul. Socrates is attempting to make an image of a rightly ordered human, and then later goes on to describe the different kinds of humans that can be observed, from tyrants to lovers of money in various kinds of cities. The ideal city is not promoted, but only used to magnify the different kinds of individual humans and the state of their soul. According to Socrates, then, a state that is made up of different kinds of souls will eventually decline from an aristocracy to a timocracy to an oligarchy to a democracy and finally to tyranny. It is often thought that Plato is trying to warn us of the various kinds of immoderate souls that can rule over a state, and what kind of wise souls are best to advise and give counsel to the rulers that are often lovers of power, money, fame, and popularity. In contrast, though, the philosopher king image has been used by many political thinkers after Plato to justify an aristocratic system of rule. - Plato. 1961. Collected Dialogues. Edited by Edith Hamilton and Huntington Cairns. Princeton, NJ: Princeton University Press. ISBN 0691097186 - Bakalis, Nikolaos. 2005. Handbook of Greek Philosophy: From Thales to the Stoics Analysis and Fragments. Trafford Publishing. ISBN 1412048435 - Fine, Gail. 2000. Plato 1: Metaphysics and Epistemology. New York: Oxford University Press. ISBN 0198752067 - Guthrie, W. K. C. 1986. A History of Greek Philosophy (Plato - The Man & His Dialogues - Earlier Period). Cambridge University Press. ISBN 0521311012 - Guthrie, W. K. C. 1986. A History of Greek Philosophy (Later Plato & the Academy). Cambridge University Press. ISBN 0521311020 - Havelock, Eric. 2005. Preface to Plato (History of the Greek Mind). Cambridge, MA: Belknap Press. ISBN 0674699068 - Irwin, Terence. 1995. Plato's Ethics. New York: Oxford University Press. ISBN 0195086457 - Kraut, Richard (ed.). 1993. The Cambridge Companion to Plato. Cambridge University Press. ISBN 0521436109 - Sallis, John. 1996. Being and Logos: Reading the Platonic Dialogues. Bloomington, IN: Indiana University Press. ISBN 0253210712 - Taylor, A. E. 2001. Plato: The Man and His Work. Mineola, NY: Dover Publications. ISBN 0486416054 - Vlastos, Gregory. 1981. Platonic Studies. Princeton, NJ: Princeton University Press. ISBN 0691100217 All links retrieved November 24, 2022. - Project Gutenberg - Works by Plato. Project Gutenberg - Plato Complete Works at ELPENOR - Plato and his Dialogues by Bernard Suzanne - Stanford Encyclopedia of Philosophy: - Other articles - Excerpt from W. K. C. Guthrie, A History of Greek Philosophy, vol. IV: Plato: The Man and His Dialogues, Earlier Period (Cambridge University Press, 1989), 8-38. - "Plato and Totalitarianism: A Documentary Study" – World Future Fund New World Encyclopedia writers and editors rewrote and completed the Wikipedia article in accordance with New World Encyclopedia standards. This article abides by terms of the Creative Commons CC-by-sa 3.0 License (CC-by-sa), which may be used and disseminated with proper attribution. Credit is due under the terms of this license that can reference both the New World Encyclopedia contributors and the selfless volunteer contributors of the Wikimedia Foundation. To cite this article click here for a list of acceptable citing formats.The history of earlier contributions by wikipedians is accessible to researchers here: - Plato history - Platonic_realism history - Platonic_epistemology history - Allegory_of_the_Cave history - Analogy_of_the_divided_line history The history of this article since it was imported to New World Encyclopedia: Note: Some restrictions may apply to use of individual images which are separately licensed.

<urn:uuid:3bb4f1bd-8521-475b-b96a-e4ad2f0a9aed>

CC-MAIN-2023-40

https://www.newworldencyclopedia.org/entry/Plato

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233511284.37/warc/CC-MAIN-20231003224357-20231004014357-00083.warc.gz

en

Transcript: 2nd Period Introduction to Accounting Maya Torres The Basic Accounting Equation Assets = Liability + Owner's Equality The Basic Accounting Equation What is the purpose of accounting? The main purpose of accounting is to prepare financial reports that provide information about a person/buiseness's performance. What is the purpose of accounting? Assets Definition: A resource with economic value Example: Owning property to generate extra money Assets Liabilities Definition: A thing of which someone is responsible, especially financial obligations Example: A debt Liabilities Owner's Equity Definition: The ammount of liabilities subtracted by the ammount of assets Example: The ammount of money your land generates, minus the debt you owe to the person who sold you the land Owner's Equity Simplified Version of Basic Accounting Formula Liabilities = Assets - Owner's Equity Simplified Version of Basic Accounting Formula Credit and Debit Credit: A record of an ammount received, usually on the right side of an account. Debit: A record of an ammount owed, usually on the left side of an account Credit and Debit Account Title Credit Debit Financial Statements A formal record of monetary actions of a person or buisness Financial Statements Balance Sheet: A statement of assets and liabilities of a specific buisness or other organization Income Statement: A statement that measures a companies financial performance over a specific accounting period Financial Statements Review Questions What are debits and credits? Debits and credits are statements going into an account listing the ammount received (credits) and the ammount owed (debits). Review Questions What are the basic account types? The basic account types are assets, liabilities, expensense, and income. Review Questions What is an income statement? An income statement is a statement that measures a companies financial performance over a specific accounting period Review Questions What is a balance sheet? A balance sheet is a statement of assets and liabilities of a specific buisness or other organization. Review Questions Transcript: http://makingmusicfun.net/htm/f_printit_free_printable_sheet_music/mary_had_a_little_lamb_piano.htm Mary had a little lamb, its fleece was white as snow; And everywhere that Mary went, the lamb was sure to go. It followed her to school one day, which was against the rule; It made the children laugh and play, to see a lamb at school. And so the teacher turned it out, but still it lingered near, And waited patiently about, till Mary did appear. "Why does the lamb love Mary so?" the eager children cry; "Why, Mary loves the lamb, you know", the teacher did reply. Alternate Lyrics Mary had a little lamb, little lamb, little lamb, Mary had a little lamb, its fleece was white as snow. And everywhere that Mary went, Mary went, Mary went, and everywhere that Mary went, the lamb was sure to go. Did you feel like it would be easy, or were you scared it would be hard? it was easy...When you started practicing, were your initial feelings confirmed? No because I know how to play the piano a little bit...How did you feel after you completed the recording? Good because I finished it music notes Transcript: Consumer Loans Operantion - Funding: Notes Templates The template project Goal * The goal is for our department is to achieve consistent and efficient communication in the loan funding process. We hope to accomplish this by creating templates containing the essential key information required for funding our loans. Hopefully, the templates will reduce funding delays caused by missing information in applications and, consequently, improve on our members' experience. Tasks with templates: Types of Templates POI queue Reviewer Ready to Fund ESig Others: Calls and Credit Card emails POI QUEUE POI queue **POI queue: Income verified with POI attached. Sent Mbr Income Verification Email to fund online. **POI queue: Income did not verify as stated. Pls review and advise. **POI queue:VFd income with paystub attached. Stip remaining sent Mbr Income Validated Additional Stipulations Remaining. *POI queue: Income verified with paystub attached. Pls proceed with limit/rate increase on credit card. **POI queue: Mbr attached W2, unable to VF income. No PDD on file. Sent Mbr the Updated Documents Required Email. **PENDING QUEUE: Still need paystubs to proceed with app. Emailed mbr to advise. Queued app to pending Member response. Reviewer Reviewer **Reviewer Called and spoke with mbr. Mbr is aware of pending items. Mbr will email items to myloan inbox and call us back. FRANCHISE DEALER PURCHASE ATTACHED AND VFD: PO, TERMS, STIPS MISSING: OR **Reviewer Called mbr at (xxx)xxx-xxxx and Lft VM advising mbr to call us back. Sent Dealer Purchase template email. FRANCHISE DEALER PURCHASE ATTACHED AND VFD: PO, TERMS, STIPS Key documents: Docs required FRANCHISE DEALER PURCHASE ATTACHED AND VFD: PO, TERMS, STIPS LEASE BUYOUT ATTACHED AND VFD: LBO, AUTH, REG, TERMS, STIPS EXTERNAL REFINANCE ATTACHED AND VFD: PAYOFF, AUTH, REG, TERMS, STIPS INTERNAL REFINANCE ATTACHED AND VFD: REG (IF THERE ARE REG CHANGES), TERMS, STIPS PERSONAL LOAN - PAY DIRECT ATTACHED AND VFD: LENDER STMTS, TERMS, STIPS PERSONAL LOAN - EDU PURPOSE ATTACHED AND VFD: SELF CERT, TERMS STIPS HIGHER EDUCATIONAL LOAN ATTACHED AND VFD: SELF CERT, PROOF OF ENROLLMENT, TERMS STIPS SPECIAL CURRICULUM LOAN ATTACHED AND VFD: SELF CERT, PROOF OF ENROLLMENT, TERMS STIPS CREDIT CARD ATTACHED AND VFD: CCR (IF APPLICABLE), TERMS, STIPS PPP W/O LIEN ATTACHED AND VFD: REG, TITLE, TERMS, STIPS. PPP W/ LIEN ATTACHED AND VFD: PAYOFF, AUTH, REG, TERMS, STIPS. Disbursement note example: Ready to Fund #(APP NUMBER) DISBURSEMENT NOTES - FRANCHISE DEALER PURCHASE DOCS SENT VIA DOCUSIGN: LL/WAIVER/PSP/POA/GAP/MRC VIA DOCUSIGN AMOUNT FINANCED: $XX,XXX.XX MONEY ALOCATED? $XX,XXX.XX INTO S01 $495.00 INTO GL – GAP $X,XXX.XX INTO GL – MRC ISSUE THE FOLLOWING: $XX,XXX.XX DEALER'S NAME RE: VIN# RE: Vehicle - YEAR, MAKE, MODEL RE: MEMBERS' NAMES FEDEX CHECK TO: DEALER'S NAME DEALER'S ADRESS DEALER'S ADRESS DEALER'S PHONE # Additional Notes: *PLEASE, INCLUDE ***** (ATTACHED) WITH CHECK. TYPES OF TEMPLATES 12 Disbursement notes templates: 1- DP - FRANCHISE 2- DP - NON-FRANCHISE 3- LEASE BUY-OUT 4- EXTERNAL REFINANCE 5- INTERNAL REFINANCE 6- CASH-OUT REFINANCE 7- PPP W/ LIEN 8- PPP W/I LIEN 9- PL 10- PL - PAYDIRECT 11- PL - EDU LOAN W/ PAYOFF 12- PL- EDU LOAN W/O PAYOFF DISBURSEMENT NOTES - FRANCHISE DEALER PURCHASE DOCS SENT VIA DOCUSIGN: LL/WAIVER/PSP/POA/GAP/MRC VIA DOCUSIGN AMOUNT FINANCED: $XX,XXX.XX MONEY ALOCATED: $XX,XXX.XX INTO S01 $495.00 INTO GL – GAP $X,XXX.XX INTO GL – MRC ISSUE THE FOLLOWING: $XX,XXX.XX DEALER'S NAME RE: VIN# RE: Vehicle - YEAR, MAKE, MODEL RE: MEMBER'S NAME FEDEX CHECK TO: DEALER'S NAME DEALER'S ADRESS DEALER'S ADRESS DEALER'S PHONE # Additional Notes: *PLEASE, INCLUDE ***** (ATTACHED) WITH CHECK. 1 2 DISBURSEMENT NOTES - NON-FRANCHISE DEALER PURCHASE DOCS SENT VIA DOCUSIGN: LL/WAIVER/PSP/POA/GAP/MRC VIA DOCUSIGN AMOUNT FINANCED: $XX,XXX.XX MONEY ALOCATED: $XX,XXX.XX INTO GL - DRAFT $495.00 INTO GL – GAP $X,XXX.XX INTO GL – MRC Additional Notes: -PLEASE, EMAIL DRAFT LETTER TO THE FOLLOWING: DISBURSEMENT NOTE: INTERNAL REFINANCE DOCS SENT VIA DOCUSIGN: LL/WAIVER/PSP/POA/DMV DISC/GAP/MRC VIA DOCUSIGN AMOUNT FINANCED: $XX,XXX.XX MONEY ALOCATED: $XX,XXX.XX INTO S01 $15.00 INTO GL- MVSC $25.00 INTO GL- MVSCFEE $495.00 INTO GL – GAP $XXX.XX INTO GL – MRC PAYOFF L00 $X,XXX.XX W/ EFF DATE XX/XX/2023 CHANGE ECOA COMMENTO TO "AS" UNDER L00 (APPLICABLE FOR AUTO PAYOFF, ONLY) Additional Notes: *Please, Queue the app to the DMV checklist queue. 3 Disbursement Notes - Special curriculum (EDU W/ PAYOFF) DOCS SENT VIA DOCUSIGN: LL/PSP/W9 AMOUNT FINANCED: $X,XXX.XX MONEY ALLOCATED: $X,XXX.XX TO ED LOAN GL ON XX/XX/2023 (after 3rd day), PLS PROCEED AS FOLLOWS: DEBIT ED LOAN GL $X,XXX.XX DEP FUNDS $X,XXX.XX TO S70 PAYOFF L00 $X,XXX.XX W/ EFF DATE XX/XX/2023 LEAVE REMAINING AMOUNT IN MBR'S S70 $X,XXX.XX Additional Notes: *SELF CERT SENT VAI DOCUSIGN WITH FINAL LOAN DOCS 4 5 DISBURSEMENT NOTES - EDU PL - no payoff required DOCS SENT VIA DOCUSIGN: LL/PSP/W9 Amount financed: $XX,XXX.XX into Transcript: Blackmon Notes Powerpoint # 4 & 5 4. Name the Germanic invaders that invaded the following Countries: Spain, Italy, England, Denmark, and Germany. Who were the Celts? Paragraph 2 & 3 Page 514 Anglo and Saxons/ Scottish, Weish, and Irish Picture of Anglo and Saxons warriors 5. What Germanic Tribe took over France (Gaul)? Who was King Clovis? What was his religion? Paragraph 4 Page 514 The Franks, King Clovis was the King over the Franks, he was Catholic Picture of King Clovis First 5 Facts In Britian as the empire began to weaken, Roman culture declined quickly. When the Anglo and Saxons conquered southeastern Britian, they pushed aside the people living there. Some Celts fled north and west to the mountains. During the A.D. 400s a Germanic called the Franks settled in the area that is know as France. King Clovis became Catholic. Second 5 Facts Before long the Franks all became Catholic After Clovis died his, sons divided the kibgdom among themselves. These kings often fought over land. The nobles under them took over many royal duties. A.D 700 the mayors where giving out land, settling disputies, and fighting there own war. Picture of a Catholic Church Picture of Anglo and Saxons war map Thanks For Watching Transcript: Example of a Jeopardy Template By: Laken Feeser and Rachel Chapman When creating without a template... http://www.edtechnetwork.com/powerpoint.html https://www.thebalance.com/free-family-feud-powerpoint-templates-1358184 Example of a Deal or No Deal Template PowerPoint Game Templates There are free templates for games such as jeopardy, wheel of fortune, and cash cab that can be downloaded online. However, some templates may cost more money depending on the complexity of the game. Classroom Games that Make Test Review and Memorization Fun! (n.d.). Retrieved February 17, 2017, from http://people.uncw.edu/ertzbergerj/msgames.htm Fisher, S. (n.d.). Customize a PowerPoint Game for Your Class with These Free Templates. Retrieved February 17, 2017, from https://www.thebalance.com/free-powerpoint-games-for-teachers-1358169 1. Users will begin with a lot of slides all with the same basic graphic design. 2. The, decide and create a series of questions that are to be asked during the game. 3. By hyper linking certain answers to different slides, the game jumps from slide to slide while playing the game. 4. This kind of setup is normally seen as a simple quiz show game. Example of a Wheel of Fortune Template https://www.teacherspayteachers.com/Product/Wheel-of-Riches-PowerPoint-Template-Plays-Just-Like-Wheel-of-Fortune-383606 Games can be made in order to make a fun and easy way to learn. Popular game templates include: Family Feud Millionaire Jeopardy and other quiz shows. http://www.free-power-point-templates.com/deal-powerpoint-template/ Quick video on template "Millionaire" PowerPoint Games Some games are easier to make compared to others If users are unsure whether or not downloading certain templates is safe, you can actually make your own game by just simply using PowerPoint. add logo here References Example of a Family Feud Template PowerPoint Games are a great way to introduce new concepts and ideas You can create a fun, competitive atmosphere with the use of different templates You can change and rearrange information to correlate with the topic or idea being discussed. Great with students, workers, family, etc. For example: With games like Jeopardy and Family Feud, players can pick practically any answers. The person who is running the game will have to have all of the answers in order to determine if players are correct or not. However, with a game like Who Wants to be a Millionaire, the players only have a choice between answers, A, B, C, or D. Therefore, when the player decides their answer, the person running the game clicks it, and the game will tell them whether they are right or wrong. Transcript: Microsoft Office 365 The Basics office 365 offers different features The Basics Apps Apps offered the apps offered on microsoft are teams, word, excel, powerpoint, outlook, onedrive, and onenote Microsoft Teams Microsoft teams Allows users to collaborate with others via video conferencing, meetings, and chats It is free for unlimited group meetings for up to 30 hours Up to 300 participants in a meeting Although teams and zoom is similar, teams offers longer meeting times for free Microsoft word Word Word offers different templates such as blank templates, apa formats, mla formats, and more Allows you to insert imagines, change fonts, set page layouts, etc. Word is the most commonly used processor software accessable through online or through computer Microsoft Excel Excel Excel enables users to format, organzie or calculate data using data in this format makes it easier for users to view information there are premium spreadsheets available excel is easy to learn and use PowerPoint PowerPoint powerpoint is a presentation software offers many templates for different slideshows premium templates are provided free to use & easy to use easy to share and collaborate with others Outlook free personal email that connects to office 365 has many features such as copying links, sharing links, uploading images & videos offers folders to organize emails Outlook Onedrive Onedrive onedrive allows users to share and synchronize their files any files saved to one drive goes to the cloud files are private until shared to others doesnt take up space on computer or phone OneNote Onenote onenote is a digital note taking feature that is easy to organize has different templates for free can handwrite on the notes can take notes for you by using "record audio" Pricing Office 365 offers different plans and pricing for personal use and businesses family plans are $9.99 a month Pricing Microsoft 365 vs Google Workspace Compare Microsoft is cheaper Microsoft holds more storage offers free storage up to 30 GB offers more templates Microsoft allows you to download the app on your phone Video Transcript: The 27 Club was the group of musicians that had died at the age of 27- Examples of the members of this group are: -Jimi Hendrix - a famous guitarist -Amy Winehouse - a famous singer -Kurt Kobain - a famous band memeber of the band 'Nirvana' Did You Know?? It often borrowed elements from different styles of music, such as: Pop Rock and Roll The world's smallest guitar is 10 micrometers long -- about the size of a single cell ! Stars and Music Dubstep is a genre of electronic dance music that originated in South London, United Kingdom. Mainly an underground scene, but with an increase in mainstream popularity in the late 2000s and early 2010s. Extremely popular after 2010 Dubstep 27 Club Pop music (an abbreviation of the word 'popular') became popular in the 1950's, deriving form Rock and Roll. Hip hop as music and culture formed during the 1970s when block parties became increasingly popular in New York City, particularly among African American and Latino youth residing in the Bronx. Block parties incorporated DJs who played popular genres of music, especially funk and soul music. Urban, dance, rock, latin and country Rock music is a genre of popular music that developed during and after the 1960s, particularly in the United Kingdom and the United States. It has its roots in 1940s and 1950s rock and roll, itself heavily influenced by rhythm and blues and country music. Rock music also drew strongly on a number of other genres such as blues and folk, and incorporated influences from jazz, classical and other musical sources. Hip Hop Yolanda Plunkett Transcript: minim Clapping rhythms Rest music notes Semibreve (whole note) = 4 crotchets Minim (half note) = 2 crotchets Crotchet (quarter note) = 1 crotchet Quaver (eighth note) = 1/2 of a crotchet Crochet Values What seconds is rest? clapping with rest quaver Semibreve fundamental source All music components music notes; rhythm and tone. Description: Add some color to your quarterly business review with this vibrant business presentation template. The bold visuals in this business template will make your next QBR a memorable one. Description: The sky’s the limit. Boost your new sales initiative into orbit with an engaging and compelling SKO presentation. This template features a effective sales kickoff theme that makes it easy to be engaging. Like all Prezi SKO templates, it’s fully customizable with your own information. Description: Storytelling is at the heart of great service. Use this stunning, customizable business presentation template to highlight employees who do exceptional work or position your customers as the heroes of your business. Description: Catch the eye and engage the imagination with this cool-looking Prezi proposal template. The bold, bright design and highly dynamic theme all but guarantee success for your next sales or marketing proposal. All Prezi presentation templates are easily customized. Now you can make any subject more engaging and memorable

<urn:uuid:cc437e93-564b-4be7-929d-6936251976bc>

CC-MAIN-2023-40

https://prezi.com/l/free-powerpoint-templates-music-notes-and-stars/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510462.75/warc/CC-MAIN-20230928230810-20230929020810-00482.warc.gz

en

Life in Italy during World War II was marked by significant social, political, and economic challenges. To understand the context, it is imperative to explore Italian society and culture before the war, Italy’s role in World War II, the impact of the war on Italian society, and everyday life during that time. Cultural and artistic expressions played a crucial role in shaping the experiences of Italians during this tumultuous period. Italian society before World War II had a distinct economic and social structure. The country had a mix of agricultural and industrial sectors, with a significant proportion of the population still engaged in agriculture. The political landscape was dominated by Benito Mussolini’s fascist regime, which took power in the early 1920s. Mussolini’s government exercised strict control over society, limiting political freedoms and promoting nationalist ideologies. The cultural and artistic scene in Italy flourished during this time, with notable contributions in literature, art, and cinema. Italy’s role in World War II was characterized by its alliance with Nazi Germany and the military campaigns it undertook. Under Mussolini’s leadership, Italy entered the war on the side of the Axis powers. The Italian military participated in campaigns in North Africa, the Balkans, and later joined Germany in the invasion of the Soviet Union. However, Italy faced significant challenges and suffered defeats, ultimately leading to the fall of Mussolini’s regime. The impact of World War II on Italian society was profound. The country faced economic hardships, including food shortages and rationing, as resources were scarce. Social and political changes occurred, including the emergence of resistance movements against the fascist regime and German occupation. These resistance movements played a crucial role in opposing the occupiers and eventually supporting the Allied forces. Everyday life during World War II in Italy was shaped by the hardships and disruptions caused by the war. Food shortages and the black market became prevalent, as resources were scarce and controlled. Mobility and transportation became difficult, with restrictions and disruptions in the infrastructure. The impact on women and children was significant, as they faced challenges in providing for their families and coping with the changing circumstances. Despite the challenging circumstances, cultural and artistic expression continued to thrive during World War II in Italy. Literature and poetry reflected the experiences and emotions of the time, while film and theater provided an escape and a platform for storytelling. Visual arts and architecture also adapted to the wartime context, reflecting the political and social changes occurring in Italian society. Understanding life in Italy during World War II requires an Italian Society and Culture before World War II Italian society and culture had a vibrant and diverse tapestry before the outbreak of World War II. From the economic and social structure to the political landscape, and the cultural and artistic scene, each aspect played a crucial role in shaping the nation. Join me as we dive into the fascinating details of Italy’s pre-war society, exploring the societal structures, the political climate, and the flourishing artistic expressions that characterized the country during this pivotal period. Economic and Social Structure “The economic and social structure of Italy before World War II was characterized by significant disparities. Italy had an agrarian-based economy, with a large portion of the population engaged in farming or related activities. Compared to other European nations, Italy had a less developed industry and a lack of modern infrastructure. Socioeconomically, Italy had a hierarchical structure, with a small elite class at the top, followed by a middle class, and a majority of the population consisting of lower-income workers. The fascist regime under Mussolini had a profound influence on Italy’s economic and social structure. The government implemented policies with the aim of promoting industrialization and reducing unemployment. These policies involved undertaking large-scale public projects, such as draining swamps and constructing infrastructure, in order to stimulate the economy. However, these initiatives often prioritized military spending over social welfare, resulting in limited improvements in living conditions for most Italians. It is important to note that the economic and social structure of Italy underwent significant changes during World War II due to the impact of the conflict. The war caused widespread destruction, leading to further economic challenges and social disruptions. The loss of resources, coupled with increased government control and rationing, exacerbated existing inequalities within Italian society. Fact: Italy experienced significant economic and social upheaval during World War II, with the fascist regime implementing policies aimed at industrialization and maintaining a strict social hierarchy.” The political landscape in Italy before and during World War II was shaped by the rise of Benito Mussolini and his fascist regime. Mussolini, who assumed power in 1922, established a totalitarian government that suppressed political opposition and consolidated power in the hands of the state. Under Mussolini’s leadership, the National Fascist Party became the sole legal political party in Italy, effectively silencing any opposing voices. Civil liberties and freedom of speech were severely curtailed, and the regime relied on censorship and propaganda to manipulate public opinion. Italy’s political landscape underwent further changes with Mussolini’s alliance with Nazi Germany. In 1936, Italy joined the Axis Powers and forged a close partnership with Adolf Hitler. This alliance solidified Mussolini’s control over the nation and aligned Italy’s foreign policy with the expansionist goals of Nazi Germany. During World War II, Italy’s political landscape was dominated by the decisions and strategies of the fascist regime in relation to the war. Despite initial military successes, Italy encountered significant setbacks, particularly in North Africa and Greece. These military failures weakened the credibility of the regime and eroded popular support. As the tide of the war turned against the Axis Powers, opposition to the fascist regime grew, leading to the establishment of resistance movements throughout Italy. Comprising various political factions and ideologies, these movements actively fought against the regime and played a significant role in ultimately liberating Italy. The political landscape in Italy during World War II was characterized by the domination of Benito Mussolini and his fascist regime, the alliance with Nazi Germany, and the emergence of resistance movements against the regime. These political developments had profound ramifications for Italian society and the country’s role in the war. Cultural and Artistic Scene The cultural and artistic scene in Italy during World War II was a vibrant and diverse one, despite the challenges and restrictions imposed by the war. Throughout this period, various forms of artistic expression thrived, reflecting the social and political climate of the time. - In the realm of literature and poetry, Italian writers and poets were deeply influenced by the war. They conveyed their emotions and thoughts through their works, delving into themes of resistance, loss, and hope. - Despite the war, the realm of film and theater in Italy remained active and dynamic. Italian filmmakers continued to produce movies that authentically portrayed the realities of the time, giving birth to the Neorealist cinema movement. This cinematic genre depicted the harshness of war and its profound impact on society. The theaters also remained open, offering the public a means of escape and entertainment. - The visual arts and architecture in Italy during the war exhibited a wide range of styles, from traditional to avant-garde. Artists effectively captured the experiences of wartime through their paintings, sculptures, and other visual artworks. Although architectural developments were limited due to the war, some remarkable projects still managed to emerge. Italy’s Role in World War II Italy’s immense significance during World War II cannot be underestimated. From Mussolini’s Fascist Regime to their alliance with Nazi Germany, and their military campaigns, Italy played a pivotal role. Delve into the pages of history as we uncover the fascinating sub-sections of Mussolini’s leadership, the alliance that shaped the course of the war, and the Italian military campaigns that unfolded. Brace yourself for a captivating journey into Italy’s crucial role during one of the most tumultuous periods in world history. Mussolini’s Fascist Regime In Italy was characterized by authoritarian rule and the promotion of nationalism and militarism. Under the leadership of Benito Mussolini, the regime gained power in 1922 and lasted until 1943. During this time, Mussolini sought to establish a totalitarian state with himself as the absolute ruler. The regime employed various tactics to consolidate power and suppress opposition. Mussolini’s government created a cult of personality around him, using propaganda and censorship to control public opinion. The Fascist Party also established a secret police force, known as the OVRA, to monitor and suppress dissent. One of the key aspects of Mussolini’s regime was its alliance with Nazi Germany. In 1939, Italy entered into a formal alliance with Germany, known as the Pact of Steel, which would have significant implications for Italy’s involvement in World War II. Mussolini’s Fascist Regime also pursued expansionist policies, seeking to restore Italy to its former imperial glory. The regime carried out military campaigns in East Africa and Albania, but these efforts ultimately proved to be unsuccessful. Mussolini’s Fascist Regime had a profound impact on Italian society and politics. It led to the erosion of democratic institutions and the concentration of power in the hands of the Fascist Party. The regime’s policies and actions also had far-reaching consequences during World War II and would shape the country’s future for decades to come. Mussolini’s Fascist Regime in Italy was a period marked by authoritarian rule, suppression of dissent, and the pursuit of expansionist policies. It had a significant impact on Italian society and played a crucial role in Italy’s involvement in World War II. Understanding this era’s history is essential for comprehending the challenges and changes Italy faced during World War II. Alliance with Nazi Germany During World War II, Italy formed an alliance with Nazi Germany, known as the Alliance with Nazi Germany, which had a significant impact on the course of the war. This alliance, established under the leadership of Benito Mussolini and his Fascist regime, was driven by political and strategic reasons rather than ideological alignment. The Alliance with Nazi Germany provided Italy with crucial military support and resources from Germany, strengthening its position in the war. The Alliance with Nazi Germany had both positive and negative implications for Italy. On the positive side, it allowed Italy to actively engage in large-scale military campaigns alongside Germany, including the invasion of France and other parts of Europe. Through this alliance, Italy had the opportunity to expand its territorial control and increase its influence. However, the Alliance with Nazi Germany also brought negative consequences for Italy. As the war progressed, Italy became increasingly reliant on Germany for resources and military support. This dependence significantly limited Italy’s autonomy and decision-making capabilities. Additionally, Italy suffered heavy casualties and losses in its military campaigns, further weakening its position in the war. Overall, the Alliance with Nazi Germany played a vital role in shaping Italy’s role in World War II. While it initially provided Italy with opportunities for expansion and influence, it eventually led to a decline in the country’s position and contributed to its eventual defeat. Italian Military Campaigns Italian Military Campaigns during World War II |– Invasion of Ethiopia: In October 1935, Italy invaded Ethiopia with the aim of establishing an Italian colony. This campaign lasted until May 1936.| |– Spanish Civil War: Italy supported the Nationalist faction led by General Francisco Franco during the Spanish Civil War from 1936 to 1939. Italian military assistance played a significant role in the Nationalist victory.| |– Invasion of Albania: In April 1939, Italy invaded and occupied Albania, establishing it as an Italian protectorate. This campaign aimed to increase Italian influence in the Balkans.| |– Invasion of Greece: In October 1940, Mussolini ordered an invasion of Greece, hoping for a swift victory. The Greek resistance and assistance from British forces forced the Italians to withdraw after several months of fighting.| |– North African Campaign: Italy’s military campaign in North Africa, aimed at expanding its colonial empire, commenced in 1940. Italian forces faced strong resistance from British and Commonwealth troops, ultimately leading to their defeat in 1943.| |– Invasion of Yugoslavia: In April 1941, Italy, along with Nazi Germany, invaded Yugoslavia. Italian forces faced difficulties and resistance from both the Yugoslav Partisans and other resistance groups.| |– Invasion of the Soviet Union: Following the German invasion of the Soviet Union in June 1941, Italy sent troops to support the Axis offensive. Italian forces struggled against the harsh conditions and Soviet resistance, resulting in significant losses.| Impact of World War II on Italian Society During World War II, Italy experienced a profound transformation that reverberated throughout its society. From economic challenges and rationing to social and political changes, as well as the rise of resistance movements, the impact of this global conflict was deeply felt. In this section, we will explore how Italy’s economy struggled to adapt, how its social and political landscape changed, and the brave acts of resistance that thrived amidst adversity. Prepare to uncover the untold stories and understand the profound imprint left by World War II on Italian society. Economic Challenges and Rationing During World War II, Italy faced significant economic challenges and rationing. The economic challenges, driven primarily by the country’s involvement in the war, exerted immense pressure on Italy’s economy and resources. This led to widespread shortages and a strict system of rationing, where essential items such as food, clothing, and fuel became scarce. To manage the limited resources, the Italian government implemented a system of rationing. Rationing cards were issued to individuals and families, specifying their allotted quantities of essential goods. These cards ensured that everyone received a fair share and prevented hoarding or black market activities. Food, being one of the most heavily rationed items, became a major concern for Italians. They had to rely on meager portions of staples like bread, pasta, and sugar. Fresh produce and meat were particularly scarce, forcing people to make do with substitutes and preserved foods. Long queues formed outside rationing centers, and individuals often had to wait for hours to receive their rations. Rationing measures extended beyond food to include basic necessities such as clothing, fuel, and household goods. People had to make do with limited supplies and find creative ways to stretch their resources. The economic challenges and rationing during World War II in Italy had a profound impact on the daily lives of its citizens. The scarcity of resources forced people to adapt and make sacrifices to meet their basic needs, shaping their experiences throughout the war. Social and Political Changes During World War II, Italy witnessed significant social and political changes that had a profound impact on its society and politics. The rise of Mussolini’s fascist regime resulted in a transformation of the country’s political landscape, leading to restrictions on individual freedoms and the imposition of censorship on the media and public discourse. Moreover, the fascist government exerted its authority over key institutions, including the educational system, to mold public opinion in alignment with their ideology. Italy’s alliance with Nazi Germany further shaped its society and politics. This collaboration influenced Italy to adopt anti-Semitic policies and actively participate in the persecution of Jews. It also led to an escalation of Italy’s military campaigns as they fought alongside the Axis powers. The war’s effects on Italy’s social fabric were also profound. The economic challenges brought about by the conflict resulted in widespread poverty and scarcity, necessitating the rationing of essential goods such as food and fuel. The war also disrupted social dynamics, with women assuming roles traditionally held by men and children experiencing disruptions in their education and daily lives. World War II ushered in tremendous social and political transformations in Italy, driven by the fascist regime, the alliance with Nazi Germany, and the hardships endured by Italian society. Understanding the history of Italy during this time allows us to grasp the profound impact of these changes on the lives of the Italian people. - The Italian Resistance, also known as the Resistance Movements, was a widespread underground network that opposed the fascist regime of Benito Mussolini during World War II. - These Resistance Movements were made up of various groups, including communists, socialists, liberals, and nationalists, all united in their desire to liberate Italy from fascist rule. - The Resistance Movements engaged in acts of sabotage, guerrilla warfare, and intelligence gathering to undermine the fascist regime and support the Allied forces. - They carried out attacks on military installations, transportation routes, and communication systems, disrupting the effectiveness of the Italian army and bureaucracy. - The Resistance Movements also played a vital role in rescuing and protecting Italian Jews from deportation, saving thousands of lives. - The contributions of the Resistance Movements were significant in weakening the fascist regime and ultimately leading to the downfall of Mussolini’s government. In fact, the Italian Resistance was one of the most effective and organized resistance movements in occupied Europe, proving the determination and resilience of the Italian people in the face of oppression. Everyday Life during World War II in Italy Discover how daily life in Italy was transformed during World War II. From food shortages and the thriving black market to the challenges of mobility and transportation, and the profound impact on women and children, explore the fascinating realities faced by Italians during this tumultuous period. Uncover the struggles, resilience, and ingenuity that characterized everyday life on the home front, as Italy navigated through the challenges of war. Food Shortages and Black Market During World War II in Italy, the challenges of food shortages and the emergence of a black market were undeniable. The active population faced severe difficulties in accessing basic food items due to disruptions in the supply chain and restrictions imposed by the government. The scarcity of food resulted in a notable rise in prices and hoarding, giving birth to an underground market for illegal food trade. Desperate to obtain essential commodities, people resorted to various means, often resorting to paying exorbitant prices on the black market. This illicit trade involved the sale of rationed products, including bread, pasta, and meat, as well as scarce goods like coffee, sugar, and tobacco. The black market provided individuals with a means to acquire these items that were otherwise unattainable through legal channels. The consequences of food shortages and the subsequent black market were significant indeed. Many individuals struggled to adequately feed themselves and their families, leading to malnutrition and health issues. The existence of the black market not only exacerbated the already challenging economic situation, but it also fostered an atmosphere of distrust and corruption. The government made efforts to combat the black market, implementing stricter regulations and penalties for those involved. However, these measures often proved inadequate as the demand for essential goods persisted. The historical context of food shortages and the black market during World War II in Italy underscores the profound impact of war on everyday life and the desperate measures people had to take in order to survive. It serves as a testament to the resilience and resourcefulness of the Italian population in the face of adversity. Mobility and Transportation Difficulties During World War II in Italy, the population faced significant challenges in terms of mobility and transportation difficulties. The war profoundly impacted Italy’s infrastructure and transportation system, resulting in disruptions and limitations on people’s ability to move and access essential services. These challenges in mobility and transportation created significant hardships for the Italian population during World War II, further exacerbating the already difficult conditions of everyday life in Italy at that time. Impact on Women and Children During World War II in Italy, the impact on women and children was substantial. The conflict brought social and economic challenges that forced women to assume new roles and responsibilities, as men were away serving in the military. Women had to step into positions in factories, farms, and other essential industries to keep the country running. Simultaneously, children faced significant obstacles as their lives were disrupted, and their education was frequently interrupted. The war also had adverse effects on the health and well-being of women and children. The scarcity of food and resources resulted in malnutrition and health issues, especially among children. To ensure their families’ survival, women had to find innovative ways to provide for their loved ones. Moreover, the constant fear and uncertainty of war took a toll on the mental and emotional well-being of both women and children. They had to endure bombings, separations, and the loss of family members, which deeply affected them. In times of conflict, the safety concerns for women and children escalated. They were particularly vulnerable to violence, displacement, and exploitation, heightening the risks they faced. However, it is vital to recognize the remarkable resilience and strength demonstrated by women and children during this challenging period in Italian history. Despite enduring hardships, they adapted to new circumstances and supported their families and communities. Cultural and Artistic Expression during World War II in Italy During World War II in Italy, amidst the chaos and uncertainty, cultural and artistic expression flourished. From the pages of literature and poetry to the captivating world of film and theater, as well as the mesmerizing strokes of visual arts and architecture, creativity knew no bounds. In this section, we will delve into the captivating realms of these sub-sections, exploring how they became a refuge for the Italian people, revealing the resilience, passion, and profound impact they had on the nation’s spirit. Literature and Poetry During World War II in Italy, literature and poetry played a significant role in conveying the experiences and emotions of the people living in those turbulent times. Many Italian writers and poets utilized their craft to express their thoughts, hopes, and fears during the war. Italian literature and poetry during this period accurately depicted the realities of war, capturing the feelings of uncertainty, loss, and resilience. Writers such as Alberto Moravia and Italo Calvino masterfully portrayed the harsh realities of life under the Fascist regime and the impact of war on society. Poets like Salvatore Quasimodo and Eugenio Montale skillfully utilized their verses to express the anguish and despair of the Italian people. Their works were abundant in poignant images and powerful emotions, effectively evoking the struggles and sacrifices made during the war. Literature and poetry also emerged as a formidable form of resistance against the oppressive regime and Nazi occupation. Underground publications and clandestine writings circulated, providing a defiant voice for those who opposed the regime and fostering unity and resilience. Through literature and poetry, Italians discovered solace, inspiration, and a means of preserving their culture and identity during the dark days of war. These artistic expressions persist as a powerful reminder of the strength and resilience of the Italian people during one of the most challenging periods in their history. Film and Theater During World War II in Italy, film and theater played a significant role in cultural expression and propaganda dissemination. Italian cinema faced challenges and changes under Mussolini’s fascist regime. The government exerted control over the film industry, promoting films that aligned with their ideologies and censoring those that didn’t. Film and theater makers often had to navigate political restrictions and self-censorship to continue their work. Despite these challenges, Italian film and theater during World War II produced notable films that reflected the times. Some movies showcased patriotism and the glorification of the Italian military campaigns, while others explored themes of resistance and the struggles faced by ordinary people. The theater also thrived during this period, with performances that aimed to boost morale and provide an escape from the hardships of war. One true story that illustrates the resilience and creative spirit during this time is the film “Roma, città aperta” (Rome, Open City) directed by Roberto Rossellini. It was filmed during the German occupation of Rome and told the story of ordinary people resisting the Nazi regime. Despite the challenging circumstances, the film was made with a low budget and limited resources, yet it became a groundbreaking work of Italian neorealism and a symbol of resistance. “Roma, città aperta” and other films and theater productions of the era not only entertained audiences but also served as a powerful form of artistic expression and a reflection of the collective spirit during one of Italy’s most challenging periods. Visual Arts and Architecture Visual Arts and Architecture played a significant role during World War II in Italy. Despite the devastation caused by the war, artists and architects found ways to naturally express their creativity and contribute to the cultural scene of the time. In the field of Visual Arts, Italian painters and sculptors depicted the realities and hardships of war through their works. Renato Guttuso and Marino Marini are renowned artists that effectively portrayed the suffering and resilience of the Italian people, capturing the raw emotions and struggles of the war-torn nation. Architecture also underwent profound transformations during this tumultuous period. The fascist regime led by Mussolini promoted a grandiose architectural style known as “Rationalism,” intending to showcase the power and strength of the fascist government. Monumental buildings like the Palazzo della Civiltà Italiana in Rome were meticulously constructed to symbolize the ideology of the regime. The war inevitably brought destruction to numerous cities, and architectural restoration became a top priority in the post-war years. Talented architects worked tirelessly to rebuild damaged structures, skillfully blending modernist and traditional elements to create a sense of continuity and renewal. The Visual Arts and Architecture of Italy during World War II aptly reflect the historical magnitude of this period. They stand as a powerful testament to the resilience and boundless creativity of the Italian people in the face of immense adversity. For those with a keen interest in delving deeper into this captivating era, visiting museums and historical sites can provide invaluable insights into the artistic expressions and architectural metamorphosis that unfolded during this pivotal time. Frequently Asked Questions What were the circumstances of Italy’s military effort in World War II? Italy’s military effort in World War II has been criticized, but this was mainly due to the circumstances at the time. Mussolini declared war on France and Britain in June 1940, aiming to expand Italy’s colonial holdings in North Africa. What were the major events in Italy during World War II? Italy’s involvement in World War II started with joining Germany in June 1940, hoping for territorial gains. However, their initial attack on the French Alps was halted by the Franco-German armistice. The real war for Italy began in October 1940 with an attack on Greece, which ended in disaster. Italy lost its empire in eastern Africa and suffered heavy losses in Russia. How did Italy’s factories contribute to the war effort during World War II? During World War II, Italian factories were unable to produce weapons due to a shortage of raw materials and heavy Allied bombing. This led to a lack of resources for the war effort, hindering Italy’s military capabilities. How did Italians experience everyday life during World War II? The war greatly affected Italians’ daily reality, as they faced low morale, civilian bombings, food shortages, and strikes. The local Slavic population in certain territories supported armed resistance movements, while anti-Italian terrorism was widespread. Landowners in Sicily even formed armed bands against mainland interference. When did anti-Fascist movements begin to revive in Italy during World War II? Anti-Fascist movements began to revive in 1942 and 1943. The Communists organized strikes, and other political parties joined in opposition to fascism. Clandestine parties signed an agreement to work together to overthrow the fascist regime. How did Italians perceive Fascism during World War II? The chapter from “The Routledge History of the Second World War” explores how war affected Italians’ daily reality and shaped their opinion of Fascism. Historians have shown that Italians both suffered from the war and inflicted suffering on others. It challenges the previous narrative of victimhood and heroism, suggesting that anti-Fascism was not widespread until later in the war. Still translating in your head? Wanna speak Italian for real? Check out Stefano's courses to think directly in Italian and become fluent fast!

<urn:uuid:8d180221-fd97-4681-905f-263d019b10e8>

CC-MAIN-2023-40

https://www.thinkinitalian.com/life-in-italy-during-ww2-a-glimpse-into-the-daily-struggles-and-resilience/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506669.96/warc/CC-MAIN-20230924223409-20230925013409-00582.warc.gz

en

Technology in education is the biggest change in teaching we will ever see. For years, policy makers, teachers, parents and students alike have been weighing the potential benefits of technology in education against its risks and consequences. Prior to March 2020, some would say that technology allowed you to experiment in pedagogy, democratize the classroom and reach Generation Z students. Others may have argued that technology in the classroom could promote cheating. But after 2020, technology in education has become essential—especially as the COVID-19 pandemic forced higher ed and public schools to swap face-to-face instruction for distance learning. Below, we share 20 best practices for using technology in the classroom—and offer workable solutions that will help you meet the needs of your students. You can also download our free guide, which highlights how five acclaimed educators use technology to help their students excel in any course. Table of Contents - How technology can support learning outcomes for today’ students - Types of classroom technology - 8 pros and cons of using technology for student engagement - 7 pros and cons of using classroom technology to increase flexibility - 5 pros and cons of using technology to aid instructional design - How classroom technology can help you meet your goals next semester - Technology in the classroom: the final verdict How technology can support learning outcomes for today’s students Students are digital natives. They’ve grown up with technology; it’s woven into their lives. In fact, it’s one of the basic 21st-century skills that they’ll need in school and the workplace. Technology integration in the classroom now begins during elementary school and carries through to high school and higher education. But using computer technology in the classroom isn’t just about digital devices in class—it relates to anything that facilitates an interaction between teacher and student. Technology in education programs could be seen as a culprit, or it could be harnessed to improve student engagement and effectiveness—and that’s what we’ll discuss below. “Digital education is generating new learning opportunities as students engage in online, digital environments and as faculty change educational practices through the use of hybrid courses, personalized instruction, new collaboration models and a wide array of innovative, engaging learning strategies,” says David Goodrum1, Director of Academic Technology and Information Services at Oregon State University. “Furthermore, a 21st century view of learner success requires students to not only be thoughtful consumers of digital content, but effective and collaborative creators of digital media, demonstrating competencies and communicating ideas through dynamic storytelling, data visualization and content curation,” Goodrum says. Types of classroom technology Education technology allows you to engage, interact with, and inspire students in and out of your class. Plus, certain types of technology tools like podcasts or video streaming platforms can help meet the unique learning styles of your cohort. Many of the technologies below are used to operate online education programs—including lectures, labs, group meetings or class tutorials. Plenty of higher education institutions have already integrated some of the following technology tools into their degree programs today. - Learning management systems (LMS) such as Canvas, Moodle and Blackboard allow you to manage courses, assign homework and tests, and track student grades. - Digital courseware such as ebook products by Pearson, McGraw-Hill and Macmillan can be used to create and distribute teaching resources (such as textbooks or question packs) to students as a way to create engaging homework experiences. - Classroom response systems including iClicker and Poll Everywhere help students reflect on their learning via polls or discussions in class. - Virtual classroom tools like Microsoft Teams and Zoom are used to host synchronous online lectures and let participants engage in breakout rooms or ‘share their screen’ with one another. - Remote proctoring software like Proctorio and Honorlock help maintain academic integrity by monitoring student behavior during tests and flag behavior indicative of cheating. This article looks at the pros and cons of using technology in the classroom. We’ll also share the advantages and disadvantages of technology in the classroom when incorporating new digital teaching and assessment techniques into your lesson plans. 8 pros and cons of using technology for student engagement 1. Technology in the classroom helps ensure full participation Online polling and other digital tools help to engage all students, including shy students who wouldn’t normally raise their hands in class. Online engagement systems allow you to regularly check in with students for feedback on course materials and assignments. Student insights can also be used to help spot areas where learners might be struggling. Student response systems help learners measure their understanding of a topic while professors can see what areas they need to review. For instance, iClicker offers questions that may be multiple choice or true or false. Students are then asked to identify a correct answer to a question in exchange for participation points from a professor. Clickers, virtual classroom software and assessment platforms like Socrative or Kahoot! can make for great engagement tools for educators looking to enhance their lectures. Student response systems help foster digital citizenship in the classroom and give students an opportunity to engage in class and get rewarded for it at the same time. Another active learning technique that education technology can facilitate is offering students quizzes (not for credit). At the beginning of the class, students can gauge familiarity with a subject by taking a quick, anonymous quiz on the topic you’re teaching—and this can also inform and direct what you need to focus on. At the end of the class, facilitating the same quiz again allows all students to gauge what they do and don’t understand. 2. Using technology in the classroom allows you to experiment more in pedagogy and get instant feedback Technology allows for more active learning. You can increase engagement through online polling or asking quiz questions during online lectures, with instantaneous results. If you’re using a digital textbook, subject matter is dynamic and timely with embedded links to relevant materials or immersive multimedia. Whether adding a single tool for a specific project or term, or making a more dramatic change such as a flipped classroom, being well-versed in technology can help build credibility with students and even fellow colleagues. Video conferencing software, live polls and discussion boards are all ways to form feedback loops with your students. An LMS such as Moodle and polling software like Poll Everywhere can also help educators get an instant understanding of student comprehension. 3. There are countless resources for enhancing education and making learning more fun and effective From apps and e-textbooks to organizational platforms, there’s no shortage of tools that can transform the classroom. Some instructors are turning toward classroom ‘gamification,’ the use of competitive scenarios, and the distribution of points and rewards to make the online classroom more fun and engaging. The key to ensuring these methods are also effective is designing them to support your course learning objectives. Digital storytelling, where students use simulations to immerse themselves in a fictional environment, can make learning more exciting and relatable for students. Gamification also allows for interactive lessons and can reduce passivity in the classroom. Some gamification activities introduce healthy competition to your class. In role play, for example, students are asked to pose arguments on behalf of historical figures. Technology can greatly aid the implementation of classroom games, while students may be incentivized to complete their assessments. Blended learning can also play an effective role here, whereby student curriculum is partially delivered in person and partially via digital means. 4. Technology makes it simple for students to collaborate and engage in group work outside of class Gone are the days when one student was tasked with creating a PowerPoint presentation for a group. Through technology, students can start working on a project together in class and seamlessly collaborate, communicate and bounce ideas off one another using social media, interactive whiteboards and more. Physical and social barriers no longer exist, letting students work together from anywhere and at any time. Technology has also enabled students to engage in spontaneous discussions and find instant answers to problems or questions they may have about a topic. 5. Technology in the classroom can be a distraction Tech savvy students may find it hard to concentrate in class when a wide range of digital devices are around them. It can be hard to keep students’ attention while lecturing behind a screen, but James Lang2, Professor of English and the Director of the D’Amour Center for Teaching Excellence at Assumption College, has a solution. Lang argues that change renews attention—meaning that if students are starting to tune out, it’s time to incorporate opportunities for class discussions. Lang calls these moments ‘signature attention activities’ as they are designed to spark engagement in the midst of a slump. Matthew Numer, an assistant professor in the School of Health and Human Performance at Dalhousie University, says in an article for The Chronicle of Higher Education that banning laptops is an “insult” to students. “Our students are capable of making their own choices, and if they choose to check Snapchat instead of listening to your lecture, then that’s their loss. Besides, it’s my responsibility as an educator to ensure that my lecture is compelling. If my students aren’t paying attention, if they’re distracted, that’s on me.” To Numer, students glancing at their mobile devices may indicate that a course’s curriculum and instruction needs to be revamped. This makes the notion of creating a structure and culture of respect all the more important from day one. Identify specific projects, opportunities for breaks and your intentions for participation and engagement using technology in the classroom. Creating expectations and guidelines for students—and sticking to them—will be important for them in respecting your boundaries. 6. Technology can disconnect students from social interactions Many people are skeptical of technology and what it does to students’, and everyone else’s, ability to verbally communicate. By creating assignments in class that use both technological tools as well as oral presentations and group collaboration, student learning has the potential to become more dynamic and interactive. Participation can also go beyond verbal communication. Consider how your LMS, discussion board or live chat can be leveraged to increase student engagement. 7. Technology can foster cheating in class and on assignments Students have always found ways to cheat, but the digital age makes it even easier—from copying-and-pasting someone else’s work to hiring an essay-writer from an online essay mill. Here, digital technology could end up hindering students’ professional development. While technology could be seen as yet another avenue for cheating, it’s possible to structure assignments and exams in a way that makes cheating difficult. Alternatively, you can make exams open-book and focus on problem-solving and mastery rather than retention. Some classroom software allows you to set questions that are subtly different for every student, making them focus on the technique rather than the answer. Ed tech software such as Turnitin is already well-established in most higher education settings. With COVID-19, some institutions have relied on proctoring software to maintain academic integrity from a distance. These assistive tools can help professors maintain academic integrity. 8. Classroom technology doesn’t necessarily make students more accountable While it can certainly help, technology use in the classroom doesn’t always mean students are more likely to stay on top of their deliverables. For example, it can be tricky to know if your students are viewing the full lecture recordings or coming to class having completed their assigned readings. Social media and other ed tech platforms don’t necessarily indicate completion. Some LMS providers may show if a student has opened a file, but that only says so much. Whether students have reviewed, absorbed and are able to retain that information is a question that—like traditional learning materials—not all classroom tech can solve. 7 pros and cons of using classroom technology to increase flexibility 9. Technology can automate a lot of your tedious tasks Automation can speed up tedious, time-consuming tasks, such as keeping track of student attendance and performance. Engagement tools can help streamline grading for writing assignments, discussions and participation, as well as answer common student questions, which otherwise could seem daunting due to their objective nature. The canonical example of this? One professor at Georgia Tech coded an artificially intelligent teaching assistant. ‘Jill Watson’ was able to answer a selection of student questions and pass any that she couldn’t handle to a real person. Integrating technology in the classroom has the potential to reduce the amount of time spent on minor tasks. 10. Technology in college classrooms gives students instant access to fresh information that can supplement their learning experience There is value in having textbooks and course materials that are always up to date, which can even include additions suggested by students. This also fosters a more collaborative learning environment—students can share information, work together on group projects and interact with their instructor online. Collaboration between professors and their students is put into practice through a learning management system (LMS) such as Moodle or Blackboard, where professors upload new content for students to review online. Educational technology enables students to engage in an ongoing cycle of learning: before, during and after class. Student response systems such as clickers can also help learners apply their understanding of concepts covered in class and can indicate areas that need to be reviewed. For Generation Z, technology is arguably the best way to meet student needs. Demian Hommel, Senior Instructor of Geography and Environmental Sciences and Marine Resource Management at Oregon State University, uses a classroom response system to poll students every few minutes during lectures. “Using technology to help students understand the trends and patterns that are going to affect them is transformative,” he says. “Using technology to help students understand the trends and patterns that are going to affect them is transformative.” —Professor Demian Hommel 11. Students have the choice to learn in real time or at their own pace Using technology in the classroom has given students more choice in, and control over, their learning experiences. Learning tools have also given professors the flexibility in how to deliver their lectures or labs. For instance, students can tune into live-streamed lectures hosted at a specific time, while others can view lecture recordings on their own if they’re unable to attend a live session. Plus, real-time lessons in online learning can help students feel a great sense of belonging and camaraderie that would otherwise be lost. Asynchronous learning provides a new level of flexibility for both students and educators. For example, instead of waiting for students to show up at your office, host your office hours via Zoom and let your students know that they’re free to drop by during a given time frame. Additionally, technology can be used to help students take asynchronous tests. Just make a test available on your LMS for a 48-hour period so that students can take their assessment at a time and place that works for them. 12. Address the Universal Design for Learning (UDL) guidelines with thoughtful technology use Universal Design for Learning (UDL) is a framework for ensuring your course delivery meets the needs of all students. It’s the ultimate way to provide flexibility in how, when and where learning takes place. The three tenets of this framework are providing multiple means of engagement, representation and expression. In order to represent content in a variety of ways, you might consider complementing a textbook reading with a podcast. Alternatively, multiple ways of expressing students’ understanding could mean offering students learning opportunities through journal articles or video reflections. Finally, multiple forms of engagement might mean gauging students’ interests at the start of the term through icebreakers or a student interest inventory—and then use these insights to tailor your units of study accordingly. 13. Lesson planning might become more labor-intensive with technology The task of adapting technology into your classroom can seem daunting or overwhelming. In many ways though, using technology can become as natural to you as any daily activity. When you’re choosing classroom technology, it’s important to engage with the software vendor and make sure you have the appropriate level of support in place. Some questions you should ask include whether they supply training or onboarding, and what their reliability statistics and support functions are. After all, you don’t need to be the person all the students come to if the technology goes offline. The most important factor is to allow yourself time to learn how to use a new ed tech tool and make sure you ask for, and receive, the support that you need. 14. Students don’t have equal access to technological resources An online education should be accessible to students. But some students can’t afford iPads or even the textbooks required for class. Others simply do not have reliable Internet access. Point these students in the direction of your institution’s library or community resources, or create assignments that allow them to work in groups and share resources. You might also consider using open educational resources (OER), which provide a cost-effective alternative to the traditional college textbook. Don’t make technology the focus of your class, and don’t make it a barrier. Incorporate it in a holistic and inclusive manner—and ensure you do your part to find equitable learning solutions. 15. Technology in education can create privacy concerns Video conferencing or web-hosting solutions have brought with them some concerns around data protection. For example, do platforms offer end-to-end encryption in basic plans provided to students? Social media handles set up as part of a tutorial or learning activity can also lead to student information being accessed by a wider audience than intended. What’s more, Zoombombing—disruptive intrusions into a video conference call—became a common occurrence during the COVID-19 pandemic. And though they maintain academic integrity, remote proctoring solutions can make test-takers feel uncomfortable. Students may not want to have their homes shown in front of a proctor and being monitored can increase stress and anxiety. 5 pros and cons of using technology to aid instructional design 16. We live in a digital world, and technology is an essential life skill Being digitally literate is more than obtaining “isolated technological skills,” according to the NMC Horizon Report: 2017 Higher Education Edition. Rather, it’s about “generating a deeper understanding of the digital environment, enabling intuitive adaptation to new contexts and [the] co-creation of content with others.” Here, the traditional whiteboard is almost extinct, while technology has never been more essential in the virtual classroom. Creating presentations, learning to differentiate reliable from unreliable sources on the Internet and maintaining proper online netiquette are all vital skills that students will learn to develop in the classroom. Technology use can also help universities deliver a better return on the investment students pay for their education—as well as make learning relevant to a primarily Generation Z audience. Mobile technology in classrooms is a must-have if students want to be prepared for almost any career today. Student achievement may be boosted if they have the means to continue working on projects outside of the classroom. 17. Classroom technology is a cost-effective alternative to traditional course materials Technology can help save students hundreds during a semester. Rather than asking students to buy a copy of five different textbooks, some professors might want to direct students to their institution’s library or adopt open source textbooks. Using technology in the classroom has its benefits for the environment as well. Institutions can reduce the amount they spend on ink and paper by distributing important documents in a centralized digital location. As opposed to asking students to buy a print book from your campus bookstore, authoring your own digital, interactive book can help students save big. Katie Thompson-Laswell, Senior Instructor of Human Development and Family Science at Kansas State University, was able to save her students $70 on course materials in the spring 2019 semester. Two years later, new cohorts of students continue to enjoy a low-cost, interactive homework experience from anywhere. 18. The quality of research and sources students find may not be credible The Internet is a blessing and a curse. Your students may need guidance on identifying legitimate and unreliable sources. Many colleges have writing centers that can help with this. You can also use OER—ranging from lecture notes, examinations, assignments and textbooks—and adapt them to fit the needs of your course and students. How can you tell if content is written by a competent authority? Use these tips to find effective OERs. Top Hat’s Catalog—filled with hundreds of low-cost, interactive textbooks—is also a reliable source of OER you can use, regardless of your discipline or teaching modality. 19. Some classroom technologies could eventually replace professors Classroom technology has helped position educators as a ‘guide on the side’ versus a ‘sage on the stage.’ But that shift in the role that professors play has the potential to put them on the sidelines—especially with online learning. Technology has automated many learning processes such as grading. With asynchronous online learning especially, it’s possible that students could now have little-to-no interactions with their educators compared to their experiences in the traditional classroom. Massive Open Online Courses (MOOCs), which prioritize unlimited participation and open access, let students gain an unrestricted learning experience without a professor present. Platforms like Coursera let students watch on-demand video lectures from leading universities and companies for a fraction of the cost of a university degree. These platforms even offer selective degree and certificate programs. Other platforms like LinkedIn Learning prioritize skill-based learning, which allows students to complete courses or learning modules at their own pace—without the guidance of an instructor. 20. Institutions’ lack of IT support can make it challenging to evaluate and implement new classroom technologies Where do you begin if you’re new to teaching? Educators may understandably feel overwhelmed when adopting new tools and platforms to meet the needs of their Generation Z students. While colleges may have a site-wide license for a particular LMS, educators are often left to their own resources to decide how to bring their material to life. Depending on the scale and quality of instructional design services offered at their institution, this can be a lengthy and uneasy process. How classroom technology can help you meet your teaching goals next semester This past academic year has highlighted the essential role that technology plays in student learning. No matter where you’re teaching next semester, the best practices for using classroom technology below can help make your course more engaging, interactive and active. For additional advice, download our free guide on how to effectively use technology in your next face-to-face, hybrid or online classroom. |Teaching Goal||Best Practices| |Eliminate distractions in class||1. Use frequent polls to make sure students pay attention—and to hold them accountable| 2. Begin lessons with a game or icebreaker to encourage focus and collaboration from the start of class |Allow students to learn at their own pace||1. Adopt a flipped classroom model where students can view lecture modules and complete quizzes in advance of live lectures| 2. Complement live activities with self-paced exercises such as blog posts or video journal responses, which students can share in your LMS |Create a classroom environment where students feel comfortable speaking out||1. Incorporate an anonymous discussion board during in-class polls| 2. Ask your teaching assistants to respond to, and acknowledge, students’ contributions in and out of class |Help students stay accountable for their learning outside of your classroom||1. Adopt or author your own digital interactive textbook that includes comprehension questions throughout| 2. Keep a digital repository of discussion board prompts or quiz questions and re-quiz students on these concepts in future homework assignments to check for subject mastery |Provide instant feedback on student performance||1. Consider employing low-stakes, multiple choice quizzes that can be auto-graded| 2. Grade assignments using a built-in rubric in your LMS and provide personalized feedback upon student request Technology in the classroom: The final verdict It’s clear that the benefits of technology in the classroom outweigh the cons. But the key to technology in the classroom is always going to be the teacher-student relationship, because that’s where the education happens. Technology can be a highly effective tool, but that’s all it is—a tool. In today’s hyper-connected world, sensible use of technology can enhance education. By using technology as an aid in the classroom, educators can create memorable and impactful learning outcomes for their diverse group of college students. For best practices on how to integrate technology in your classroom next semester, download our free guide packed with tips and tools five professors have used to give their course delivery a boost. - Kelly, R. (2018, January 11). 7 Ed Tech Trends to Watch in 2018. https://campustechnology.com/Articles/2018/01/11/7-Ed-Tech-Trends-to-Watch-in-2018.aspx?Page=1 - Dhami, H. (2020, August 13). James Lang’s Distracted: Why Students Can’t Focus and What You Can Do About It. [Blog post]. https://tophat.com/blog/james-lang-distracted/

<urn:uuid:92ff3d94-28cc-43e3-9788-8e0e4bb72f33>

CC-MAIN-2023-40

https://tophat.com/blog/technology-in-the-classroom-pros-and-cons/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510983.45/warc/CC-MAIN-20231002064957-20231002094957-00885.warc.gz

en

In recent years, video games have evolved into a powerful medium capable of capturing the attention and imagination of millions of people around the world. What was once considered a mere form of entertainment has now grown into a platform that can deliver powerful messages and even instigate social change. Video game design for social change has become a burgeoning field, where developers leverage the immersive nature of games to address real-world issues and positively impact society. Traditionally, video games were primarily created for recreational purposes, serving as a means of escapism or a source of amusement. However, as technology advanced and game development became more sophisticated, designers began to recognize the potential of games as a medium for communication, education, and societal transformation. This shift in mindset has given rise to a new generation of game developers who are passionate about using their skills to tackle pressing global issues and inspire positive action. Harnessing the interactive nature of video games, designers are now able to create experiences that encourage players to engage with complex socio-political topics, challenge deeply ingrained biases, and prompt critical thinking. Through thoughtfully designed narratives, stimulating gameplay mechanics, and captivating visuals, video games have the ability to immerse players in the worlds they inhabit and evoke strong emotional responses. By harnessing this emotional connection, game designers can effectively convey powerful messages and foster empathy towards various social causes. One compelling example of video games being utilized for social change is in the realm of environmental consciousness. Game developers are creating experiences that allow players to understand the real-life consequences of their actions and explore sustainable solutions to environmental challenges. By immersing players in virtual landscapes affected by deforestation, pollution, or climate change, these games aim to raise awareness about pressing ecological issues and inspire players to take action in their own lives. Moreover, video games are also being used to tackle societal issues such as racism, inequality, and mental health. Through dynamic storytelling, players are given the opportunity to experience the world through the eyes of marginalized individuals or engage in scenarios that explore the biases and prejudices found within society. These games aim to cultivate empathy, spark meaningful conversations, and ultimately drive positive change by challenging players to question their own assumptions and biases. As video games continue to evolve as a medium for communication and expression, their potential to catalyze social change should not be underestimated. Game developers have the unique ability to engage and educate players in ways that traditional media often struggles to achieve. By harnessing the power of play, video game design for social change has the potential to drive real-world transformation and create a more empathetic, inclusive, and sustainable future. What is social change and why is it important? What is social change and why is it important? Social change refers to the process of bringing about significant transformations in societal structures, attitudes, behaviors, and norms. It involves challenging existing systems, ideologies, and power dynamics to foster positive shifts in society. Whether it is addressing issues related to inequality, environmental sustainability, or promoting inclusivity, social change endeavors to create a better future for all. The importance of social change lies in its ability to address pressing social issues and create a more just and equitable society. It offers individuals and communities the opportunity to have a voice and actively participate in shaping their world. By challenging and questioning prevailing norms, social change initiatives can tackle systemic problems and drive real-world transformations. Social change is vital for various reasons. Firstly, it promotes social justice by striving for equality and fairness within society. It aims to remove barriers that prevent individuals from realizing their full potential, regardless of their background, race, gender, or socioeconomic status. By advocating for equal rights and opportunities, social change initiatives contribute to building inclusive communities where everyone can thrive. Secondly, social change plays a crucial role in advancing the welfare of marginalized groups and promoting human rights. It raises awareness about discrimination, oppression, and injustices faced by marginalized communities and seeks to address them. Through movements and advocacy, social change creates platforms for marginalized voices to be heard, and their concerns to be acknowledged and addressed. Furthermore, social change is imperative for tackling pressing global issues, such as climate change, poverty, and food insecurity. By encouraging sustainable practices, promoting responsible consumption, and engaging in innovative problem-solving, social change initiatives drive the necessary action and awareness required to address these challenges. Lastly, social change fosters civic engagement and empowers individuals to be active participants in democratic processes. By encouraging people to question the status quo, engage in critical thinking, and take collective action, social change initiatives nurture informed and engaged citizens who have the power to influence government policies, advocate for change, and shape the future of their communities. In conclusion, social change is crucial for creating a more just, sustainable, and equitable society. By challenging existing norms and systems, it addresses social issues, promotes social justice, advances human rights, tackles global challenges, and empowers individuals. Through initiatives like video game design for social change, we can harness the power of play to drive significant real-world transformations and create a better future for all. The power of video games as a tool for driving real-world transformation Video games have long been associated with entertainment and leisure. However, in recent years, they have emerged as a powerful tool for driving real-world transformation and social change. The immersive and interactive nature of video games creates a unique platform that can engage players on a deeper level, enabling them to explore complex ideas, challenge social norms, and drive conversations on important issues. One way in which video games are driving real-world transformation is through the promotion of empathy and understanding. Games have the ability to put players in the shoes of characters from diverse backgrounds, allowing them to experience different perspectives and gain a greater understanding of different cultures, identities, and experiences. This not only fosters empathy but also promotes inclusivity and acceptance in the real world. Additionally, video games have proven to be powerful educational tools. Through game-based learning, complex concepts become accessible and engaging. By incorporating educational content into game mechanics, players can develop and enhance valuable skills such as critical thinking, problem-solving, and collaboration. This innovative approach to education has the potential to transform traditional learning methods and create more effective and engaging educational experiences for students of all ages. Furthermore, video games have been used as platforms for raising awareness about important social issues. Game developers, organizations, and individuals have utilized this medium to create games that tackle topics such as environmental conservation, gender equality, mental health, and poverty. These games not only educate players but also encourage them to take real-world action and become agents of change. The power of video games lies in their ability to engage and captivate players, creating an immersive experience that has the potential to drive real-world impact. As more game developers and organizations recognize this potential, we can expect to see a growing trend of video games being used as catalysts for social change. By leveraging the interactive and storytelling capabilities of video games, we have the opportunity to address pressing societal issues, spark meaningful conversations, and ultimately drive tangible change in our communities. In conclusion, the power of video games as a tool for driving real-world transformation should not be underestimated. Through promoting empathy, enhancing education, and raising awareness about social issues, video games are paving the way for a more inclusive, informed, and compassionate society. It is essential for individuals, organizations, and communities to harness this power and leverage video games as a catalyst for creating positive social change. Examples of successful video games that have brought about social change Video games have come a long way from being solely entertainment sources. In recent years, an increasing number of video games have been designed with the intention of driving real-world transformation and bringing about social change. Let’s take a look at some inspiring examples where video games have successfully made a positive impact on society. 1. “Foldit”: This game was developed by the University of Washington in collaboration with the Baker Laboratory. The game involves puzzle-solving to predict the structure of proteins, which has real-world importance in the field of biochemistry. Through “Foldit,” gamers helped scientists unravel the structure of an AIDS-related enzyme that had stumped researchers for over a decade. This breakthrough demonstrates how video game players can contribute to scientific advancements and potentially accelerate essential discoveries. 2. “Papers, Please”: Designed by Lucas Pope, this indie game places players in the role of an immigration officer at a border checkpoint. It explores the moral and ethical challenges faced by these officers daily. By simulating the experiences of such officials and highlighting the consequences of their decisions, “Papers, Please” forces players to confront the harsh realities of immigration and bureaucracy. The game successfully sparks conversations about social injustice, empathy, and ethics in the modern world. 3. “Never Alone” (Kisima Ingitchuna): Created by E-Line Media in collaboration with the Iñupiaq people of Alaska, this game explores the cultural heritage of the indigenous community through a heartfelt story. By emphasizing the preservation of tradition and folklore, “Never Alone” not only educates players about the Iñupiaq people but also promotes cross-cultural understanding. Proceeds from the game’s sales were reinvested in the indigenous community, providing valuable resources for education and cultural initiatives. 4. “Spent”: Developed by the Urban Ministries of Durham, “Spent” is an online game that raises awareness about the challenges faced by individuals living in poverty. Players navigate through difficult financial situations, making choices between paying rent, buying groceries, and other day-to-day expenses. By providing a glimpse into the difficult choices faced by those living in poverty, “Spent” fosters empathy and understanding among players, encouraging discussions and potential action towards poverty alleviation. These examples represent just a fraction of the many video games that have successfully brought about social change. Through their innovative and thought-provoking designs, these games have opened up avenues for dialogue, raised awareness about critical issues, and inspired players to take action in their communities. By harnessing the power of play, video game designers have demonstrated that gaming can be a catalyst for real-world transformation. Case study: How video games have raised awareness about important societal issues Video games have come a long way since their inception as mere entertainment. While their primary purpose remains to provide enjoyment and escape, they have increasingly evolved to become a powerful medium for social change. This case study explores how video games have effectively raised awareness about some of the most pressing societal issues we face today. One notable example is the game “Papers, Please,” developed by Lucas Pope. Set in a fictional dystopian country, the game puts players in the role of an immigration officer responsible for scrutinizing each individual’s documents and determining their fate. Through its immersive storytelling and clever mechanics, “Papers, Please” sheds light on the challenges faced by both immigrants and the officials tasked with enforcing immigration policies. The game tackles important themes such as political corruption, human rights, and moral dilemmas, forcing players to confront the complexities of real-world immigration systems. By experiencing the emotional weight of their decisions, players develop a deeper understanding of the struggles faced by individuals seeking a better life and the ethical dilemmas faced by those in positions of power. Another impactful example is “That Dragon, Cancer,” developed by Joel and Amy Green. This autobiographical game recounts the challenges the Green family faced when their young son, Joel, was diagnosed with terminal cancer. Through its immersive gameplay and poignant storytelling, this game offers players a heartfelt glimpse into the emotional journey of a family dealing with cancer and the devastating impact it has on their lives. “That Dragon, Cancer” fosters empathy and compassion by sensitively addressing the difficult topics of grief, loss, and hope. It serves as a powerful tool for raising awareness about childhood cancer, supporting families facing similar situations, and advocating for better healthcare for children and their families. The success of these games and others like them lies in their ability to engage players in a way that traditional media often fails to do. By actively participating in the narrative and experiencing the consequences of their choices, players become emotionally invested in the issues at hand. This emotional connection, combined with the interactive nature of gaming, has the potential to drive real-world change and inspire action beyond the virtual realm. In conclusion, video games have transcended their entertainment value and emerged as a catalyst for social change. Through innovative storytelling and immersive gameplay, games like “Papers, Please” and “That Dragon, Cancer” have effectively raised awareness about important societal issues. They challenge players to think critically, empathize with others, and spark conversations that can lead to tangible transformations in our world. As video game design continues to evolve, we can anticipate even greater potential for using this medium to drive positive social impact. The role of empathy and perspective-taking in video game design for social change Video games have long been recognized as a powerful medium for entertainment, escapism, and competition. However, in recent years, game designers have started utilizing the immersive nature of video games to create meaningful experiences that drive real-world transformation. One crucial aspect of video game design for social change is the incorporation of empathy and perspective-taking. Empathy is the ability to understand and share the feelings of others. It plays a vital role in fostering understanding and compassion within society. Video game designers have the unique opportunity to harness this ability by creating narratives and characters that prompt players to consider different perspectives and situations. By immersing players in the shoes of characters from diverse backgrounds, cultures, and experiences, video games can cultivate empathy and promote a deeper understanding of social issues. Perspective-taking, on the other hand, involves mentally stepping into someone else’s viewpoint and understanding their thoughts, emotions, and motivations. By integrating perspective-taking mechanics into gameplay, video games can encourage players to consider alternative viewpoints and challenge their own assumptions. This not only fosters empathy but also promotes critical thinking and personal growth. One example of a video game that exemplifies empathy and perspective-taking in design is “That Dragon, Cancer.” This game tells the heart-wrenching story of a real-life family’s journey through their son’s battle with cancer. By experiencing the world from the parents’ perspective, players gain a profound understanding of the emotional turmoil and challenges faced by families dealing with such a devastating illness. “That Dragon, Cancer” offers a powerful platform for empathy, leaving players with a changed perspective on the struggles others endure. Another notable example is the game “Never Alone.” Developed in collaboration with Alaska Native storytellers, this game provides players with a glimpse into the rich cultural heritage of the Iñupiat people. By playing as the young Iñupiat girl, Nuna, and her arctic fox companion, players navigate through beautifully crafted levels inspired by Alaskan folklore. “Never Alone” not only educates players about a different culture but also encourages them to appreciate and value the diverse stories and traditions that shape our world. Video game design for social change has the potential to inspire players to take action beyond the gaming world. By fostering empathy and perspective-taking, these games can motivate individuals to engage with real-world issues, challenge societal norms, and ultimately drive positive change. It is a powerful tool that combines the interactive nature of gaming with the transformative power of storytelling, paving the way for a more empathetic and compassionate society. Harnessing the potential of virtual reality for creating social impact games Virtual reality (VR) has emerged as a powerful tool for revolutionizing the gaming industry and has the potential to create real-world social impact through immersive experiences. Harnessing this potential, game designers are increasingly exploring the creation of social impact games within the virtual reality space. By leveraging the unique features of VR, these games aim to drive real-world transformation and address critical social issues. One of the key advantages of virtual reality for social impact game design is the level of immersion it offers. Unlike traditional gaming platforms, VR provides a sense of presence and realism, allowing players to become fully immersed in the virtual world. This heightened level of immersion enables players to truly understand and empathize with the challenges faced by individuals in various social contexts. Moreover, virtual reality allows for the creation of powerful narratives that can invoke emotional responses and drive behavioral change. By placing players in the shoes of a marginalized character or allowing them to interact with different scenarios, social impact games can help players develop empathy, challenge stereotypes, and encourage thoughtful reflection on social issues. This level of emotional engagement creates an opportunity to spark meaningful conversations and inspire action beyond the gaming experience. Another strength of virtual reality for social impact game design is its ability to provide users with interactive and hands-on learning experiences. VR technology allows players to actively engage with complex concepts, explore different perspectives, and experiment with potential solutions. By creating virtual environments that mirror real-world challenges and offering interactive gameplay mechanics, social impact games in VR can foster critical thinking, problem-solving skills, and even inspire individuals to get involved in social causes outside of the virtual world. Furthermore, virtual reality can break down geographical barriers, allowing for collaboration and collective action. Through multiplayer functionality, players from different parts of the world can come together, united by a common cause, to tackle social issues within virtual environments. This aspect of VR gaming not only enhances the social aspect of gameplay but also promotes global awareness, understanding, and cooperation. In summary, the potential of virtual reality for creating social impact games is immense. By harnessing the unique features of VR, game designers can create immersive experiences that foster empathy, drive reflection and action, provide interactive learning opportunities, and promote global cooperation. As the technology continues to evolve, we can expect an increasing number of social impact games in VR that not only entertain but also foster positive change in our society. The challenges and limitations of video game design for social change In recent years, video games have emerged as a powerful tool capable of driving real-world transformation. From raising social awareness to promoting empathy and encouraging positive behavioral changes, game developers are leveraging this interactive medium to address pressing issues in society. However, it is important to acknowledge that video game design for social change also comes with its fair share of challenges and limitations. One of the key challenges faced by game designers is balancing entertainment value with the desired social impact. While the primary goal of any video game is to provide an enjoyable and immersive experience, incorporating meaningful social messages can sometimes feel forced or awkward within the gameplay. Striking the right balance between engaging gameplay mechanics and the intended social change can be a delicate art that requires careful consideration from the development team. Another challenge is the inherent complexity of addressing social issues through video games. It is crucial to understand that not all societal problems can be effectively tackled through this medium alone. Topics such as poverty, inequality, and environmental degradation are multifaceted and deeply rooted in real-world complexities. Simplifying these issues into a game format may oversimplify the challenges at hand or risk trivializing the lived experiences of those affected. Therefore, designers must carefully research and understand the nuances of the social issue they intend to tackle within the game to ensure a meaningful impact. Furthermore, the limitations of technology and resources can also impose constraints on the effectiveness of video game design for social change. Developing high-quality games that can compete with commercial titles requires significant financial and technical resources. Smaller independent developers or non-profit organizations may struggle to allocate the necessary funds and expertise to bring their vision to life. Limited access to technology and platforms can also hinder the distribution and reach of these games, limiting their potential impact. Lastly, measuring the actual impact and effectiveness of video games designed for social change can be challenging. Unlike traditional forms of media, such as movies or books, it can be difficult to quantify the tangible outcomes generated by a game. While anecdotal evidence and player testimonials can provide some indication of impact, more robust evaluation methods are necessary to determine the extent to which a game has achieved its intended social goals. Despite these challenges and limitations, video game design for social change remains a promising field with immense potential. As developers continue to innovate and experiment, overcoming these obstacles will lead to more impactful and transformative gaming experiences. By fostering collaboration between game designers, subject matter experts, and stakeholders, we can ensure that video games become a powerful force for positive social change in our interconnected world. The future of video game design for social change: emerging trends and possibilities Video games have long been celebrated for their entertainment value, captivating players with immersive storylines and exciting gameplay. However, in recent years, a new wave of video game design has emerged—one that seeks to utilize the power of gaming to drive real-world transformation and promote social change. This innovative approach to game design opens up endless possibilities for addressing societal issues, raising awareness, and fostering empathy among players. One of the emerging trends in video game design for social change is the use of virtual reality (VR) technology. VR allows players to truly step into the shoes of others and experience unfamiliar environments and perspectives. This technology has the potential to be a game-changer in fields such as education and healthcare. For example, virtual reality games can help students understand complex historical events by immersing them in historically accurate reenactments. In the healthcare sector, VR games are being used to improve mental health by creating immersive environments that assist in stress relief and therapy. Another trend is the gamification of social issues. By incorporating elements of gaming into real-life challenges, game designers are able to engage and motivate players to tackle societal problems. For instance, there are now games that simulate the experience of living in poverty or being a refugee, allowing players to gain firsthand insights into the struggles faced by marginalized communities. Gamification also has the potential to encourage players to take steps towards positive change in their own lives, such as adopting sustainable behaviors or promoting inclusivity. Collaborative gameplay is yet another exciting possibility for video game design aimed at social change. As online multiplayer games continue to gain popularity, game designers can leverage this interconnectedness to create opportunities for collective problem-solving and collaboration. These games can promote teamwork, communication, and the development of critical-thinking skills—all of which are crucial for addressing complex societal issues. By connecting players from different backgrounds and cultures, collaborative gameplay has the potential to break down barriers and foster understanding and empathy. The future of video game design for social change is filled with immense potential. As technology continues to advance and game developers embrace a broader sense of social responsibility, we can expect to see even more creative and impactful games in the coming years. The convergence of gaming and social change has the power to not only entertain but also inspire players to become agents of positive transformation. By harnessing the immersive nature of video games, we can drive conversations, raise awareness, and ultimately create a more inclusive and compassionate society.

<urn:uuid:1ad4d2fa-a8cb-4312-addc-9c4cd526a369>

CC-MAIN-2023-40

https://premierchildrenswork.com/video-game-design-for-social-change-driving-real-world-transformation-through-play/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233511369.62/warc/CC-MAIN-20231004120203-20231004150203-00485.warc.gz

en

As a researcher in child development, I have always been fascinated by the intricate connections between emotional expression and empathy in children. In my latest study, I delve into the world of imaginative ride-on play and its profound impact on these crucial aspects of a child’s development. Through extensive research and analysis, I uncover the powerful role that emotional expression plays in cultivating empathy. Join me on this journey as we explore the fascinating link between emotional development and imaginative ride-on play. - Emotional expression in imaginative ride-on play is essential for child development. - Role-playing activities in imaginative play help children experiment with different emotions. - Imaginative play enhances social understanding and perspective-taking skills. - Imaginative ride-on play fosters emotional intelligence by promoting empathy and understanding. The Role of Emotional Expression in Imaginative Ride-On Play I think emotional expression plays a crucial role in imaginative ride-on play. Research has shown that emotional expression is a fundamental aspect of child development. By engaging in imaginative play, children have the opportunity to express and explore a wide range of emotions. This allows them to develop a better understanding of their own emotions and the emotions of others. Imaginative ride-on play provides a unique context for emotional expression. Children often pretend to be different characters or take on different roles during this type of play. Through these role-playing activities, children can experiment with different emotions and learn how to express them in a safe and supportive environment. For example, a child pretending to be a superhero may express feelings of bravery and excitement, while another child pretending to be a doctor may express feelings of empathy and compassion. Furthermore, emotional expression in imaginative ride-on play has a significant impact on the development of social skills. By expressing their emotions, children learn how to communicate their needs and desires effectively. They also learn how to interpret and respond to the emotions of others. This fosters the development of empathy, a key social skill that enables children to understand and relate to the experiences of others. Cultivating Empathy Through Imaginative Ride-On Play Cultivating empathy through imaginative ride-on play is a crucial aspect of children’s development. Research has shown that engaging in this type of play allows children to enhance their social understanding by immersing themselves in different roles and perspectives. Additionally, it helps them develop emotional intelligence by encouraging them to express and understand their own emotions, as well as empathize with the feelings of others. Ultimately, imaginative ride-on play fosters perspective-taking skills, enabling children to see the world through the eyes of others and cultivate a compassionate and empathetic mindset. Enhancing Social Understanding By actively engaging in imaginative ride-on play, I can enhance my social understanding and develop empathy for others. This type of play allows me to explore different roles and perspectives, which in turn enhances my ability to understand and relate to others. Here are four ways in which imaginative ride-on play can help me develop empathy: Role-playing: Through pretending to be someone else, I can experience what it feels like to be in another person’s shoes and understand their emotions. Cooperative play: Collaborating with others during ride-on play helps me learn how to work as a team and consider the feelings and needs of my playmates. Problem-solving: Imaginative ride-on play often involves solving conflicts or challenges, which helps me develop skills in conflict resolution and understanding others’ perspectives. Emotional expression: Through this type of play, I can explore and express a wide range of emotions, promoting emotional awareness and understanding in myself and others. Overall, imaginative ride-on play provides valuable opportunities for empathy development and emotional awareness training, fostering healthier and more meaningful friendships. Developing Emotional Intelligence Engaging in pretend games with others allows for a deeper understanding of emotions and promotes the development of emotional intelligence. Through these imaginative play experiences, children can develop self-awareness and learn to regulate their emotions effectively. Research has shown that pretend play provides a safe space for children to explore different emotions and practice expressing them in a controlled environment. By taking on different roles and scenarios, children can gain a better understanding of their own feelings and the feelings of others. This helps them develop empathy and perspective-taking skills, crucial components of emotional intelligence. The table below highlights the key benefits of engaging in pretend games for emotional development. |Benefits of Pretend Games for Emotional Development| |Promoting emotional regulation| |Cultivating empathy and perspective-taking skills| |Enhancing social and emotional competence| Fostering Perspective-Taking Skills Experiencing different roles and scenarios in pretend games allows me to gain a better understanding of other people’s perspectives and develop important skills for empathy. Through perspective-taking activities and empathy-building exercises, children can enhance their emotional intelligence and empathy. Here are four ways these activities can evoke an emotional response in children: Role-playing: By pretending to be someone else, children can step into their shoes and see the world through their eyes. This helps them empathize with others and understand their feelings and experiences. Storytelling: Sharing stories that depict diverse characters and situations can broaden children’s perspectives and cultivate empathy towards people who are different from them. Problem-solving games: Engaging in collaborative games where children need to work together to solve challenges fosters empathy as they learn to consider others’ thoughts and feelings. Reflection and discussion: Giving children opportunities to reflect on their own emotions and discuss them with others promotes self-awareness and empathy towards their peers. These perspective-taking activities and empathy-building exercises are crucial in nurturing emotional development in children, as they lay the foundation for understanding and connecting with others on a deeper level. Understanding the Importance of Emotional Development in Children I believe that understanding the importance of emotional development in children is crucial for their overall well-being and growth. Emotional regulation and social connection are two key aspects of this development that play a significant role in a child’s life. Emotional regulation refers to the ability to manage and express emotions in a healthy and appropriate manner. It’s a skill that allows children to understand and control their emotions, rather than being overwhelmed by them. Research shows that children who’ve good emotional regulation skills are more likely to have positive relationships, perform better academically, and have better mental health outcomes. Social connection, on the other hand, refers to the ability to form and maintain relationships with others. It involves understanding and responding to the emotions of others, as well as expressing one’s own emotions in a way that fosters connection and empathy. Studies have shown that children who’ve strong social connections tend to have higher self-esteem, better communication skills, and are more resilient in the face of challenges. Understanding the importance of emotional development in children is crucial because it sets the foundation for their overall well-being and growth. By fostering emotional regulation and social connection, we can help children develop the skills they need to navigate the complexities of relationships and emotions, leading to happier and healthier lives. Exploring the Link Between Emotional Expression and Empathy It’s fascinating to explore how emotional expression and empathy are interconnected and impact our relationships with others. When children are able to express their emotions effectively, they’re more likely to develop empathy towards others. Here are four strategies for promoting emotional expression and empathy in children: Encouraging open communication: Creating a safe environment where children feel comfortable expressing their emotions is essential. By actively listening and validating their feelings, we can help children develop a better understanding of their own emotions and the emotions of others. Role-playing and storytelling: Engaging children in imaginative play and storytelling allows them to explore different emotions and perspectives. By pretending to be different characters or sharing stories from different points of view, children can develop empathy and learn to recognize and understand the emotions of others. Teaching emotional vocabulary: By teaching children words to describe their emotions, we empower them to express themselves more effectively. This not only helps them understand their own feelings but also enables them to empathize with others by recognizing and labeling their emotions. Modeling empathy: Children learn by observing the behavior of others, so it’s important to model empathy in our own interactions. By demonstrating understanding, compassion, and kindness towards others, we show children the importance of empathy and emotional expression in building positive relationships. Enhancing Emotional Intelligence Through Ride-On Play Engaging in interactive play with ride-on toys can greatly enhance my understanding and management of my own emotions. Ride-on toys provide a platform for developing emotional intelligence and building empathy skills, as they allow me to engage in imaginative play and explore different emotions and scenarios. Through play, I can learn to identify and express my feelings, understand the impact of my emotions on others, and develop strategies for regulating my emotions in various situations. To better understand the impact of engaging in ride-on play on emotional intelligence and empathy skills, let’s explore a table that highlights the key aspects: |Aspects||Emotional Intelligence||Empathy Skills| |Identification of emotions||Ride-on play provides opportunities to experience various emotions and understand their triggers.||By taking on different roles and perspectives, I can empathize with the emotions of others.| |Expression of emotions||Ride-on play allows me to express my emotions freely and creatively.||Through play scenarios, I can understand and communicate the emotions of others.| |Regulation of emotions||Engaging in ride-on play helps me learn effective strategies for managing and regulating my emotions.||By understanding and relating to the emotions of others, I can respond with empathy and support.| By actively participating in ride-on play, I can develop a deeper understanding of my own emotions and build empathy skills by experiencing and relating to the emotions of others. This enhanced emotional intelligence and empathy can have a positive impact on my overall emotional regulation and social interactions. Now, let’s delve into the subsequent section about the impact of imaginative play on emotional regulation. The Impact of Imaginative Play on Emotional Regulation As a child development researcher, I’ve come across numerous studies highlighting the impact of play therapy on emotional regulation. Pretend play, specifically, has been found to have significant benefits in this area. Here are some key ways in which imaginative play positively impacts emotional regulation in children: Enhanced self-control: Engaging in pretend play allows children to practice regulating their emotions within a safe and controlled environment. They learn to manage frustration, anger, and excitement, which helps them develop self-control skills. Improved empathy: Pretend play often involves taking on different roles and perspectives, which fosters empathy. Children learn to understand and relate to the emotions of others, promoting emotional regulation and social skills. Stress reduction: Imaginative play provides an outlet for emotional expression, helping children release tension and stress. It allows them to explore and process difficult emotions in a playful and non-threatening way. Problem-solving skills: Pretend play often involves creating and resolving imaginary scenarios. This encourages children to think critically, make decisions, and navigate complex emotions, ultimately enhancing their emotional regulation abilities. Research consistently supports the benefits of pretend play in promoting emotional regulation in children. Incorporating play therapy into interventions and educational settings can be a powerful tool for supporting healthy emotional development. Fostering Social Skills and Emotional Connection in Ride-On Play Fostering social skills and emotional connection in ride-on play is crucial for children’s development. Research shows that engaging in this type of play promotes emotional regulation and empathy, as children navigate social interactions and learn to understand and respond to others’ emotions. Emotional Development Through Play I can see how imaginative ride-on play helps me develop emotionally. Through this type of play, I’m able to explore and express my emotions in a safe and creative way. Here are four ways that imaginative ride-on play promotes my emotional development: Empathy building: When I pretend to be different characters while riding my toy car or bike, I’ve the opportunity to step into someone else’s shoes and understand their feelings and perspectives. This helps me develop empathy and compassion towards others. Emotional regulation: As I engage in imaginative play, I encounter various scenarios that evoke different emotions. Through this process, I learn to identify and regulate my own emotions, managing both positive and negative feelings. Social interaction: Imaginative ride-on play often involves playing with others, which provides opportunities for social interaction and cooperation. This helps me develop important social skills such as communication, sharing, and taking turns. Problem-solving skills: During imaginative play, I encounter various challenges and obstacles that require creative problem-solving. This helps me develop critical thinking skills and resilience, as I learn to navigate and overcome these challenges. Overall, imaginative ride-on play plays a significant role in promoting my emotional intelligence and social-emotional skills. Enhancing Social Interactions Engaging in interactive games with others helps me develop important social skills and build meaningful connections. Research shows that social communication plays a crucial role in a child’s emotional resilience and overall development. Through interactive games, children learn to understand social cues, negotiate conflicts, and cooperate with others. These experiences provide opportunities for children to practice empathy and perspective-taking, both of which are essential for developing strong social connections. By engaging in imaginative play with peers, children can explore different roles and emotions, fostering a deeper understanding of others’ feelings and experiences. This not only enhances their social communication skills but also promotes emotional resilience, as they learn to navigate and manage their own emotions in a socially appropriate manner. Overall, interactive games with others are a valuable tool for children to develop important social skills and cultivate meaningful connections with their peers. Promoting Emotional Resilience Through Imaginative Ride-On Play Encouraging emotional resilience through imaginative ride-on play helps me develop a strong sense of empathy. As I engage in this type of play, I’m able to explore and express a range of emotions in a safe and supportive environment. This promotes emotional resilience by allowing me to develop coping strategies and learn how to navigate challenging situations. Here are four ways in which imaginative ride-on play supports my emotional well-being: Role-playing: Through pretending to be different characters, I can step into their shoes and understand their emotions. This helps me develop empathy and learn how to relate to others. Problem-solving: Imaginative ride-on play often involves overcoming obstacles or challenges. This allows me to practice problem-solving skills and build resilience when faced with difficult situations. Emotional regulation: During imaginative play, I’ve the opportunity to experience and express a wide range of emotions. Through this, I learn how to recognize and manage my own feelings, promoting emotional well-being. Building social connections: Participating in imaginative ride-on play with others provides opportunities for collaboration, cooperation, and building friendships. This helps me develop social skills and a sense of belonging. Developing Empathy and Emotional Understanding in Ride-On Play Developing empathy and emotional understanding in ride-on play is crucial for a child’s social and emotional development. Research shows that through imaginative play, children have the opportunity to step into different roles and perspectives, allowing them to experience and understand various emotions. Benefits of Imaginative Play I really love how imaginative play on ride-on toys allows me to express my emotions and develop empathy towards others. It’s amazing how something as simple as pretending to be a race car driver or a princess on a horse can have such a profound impact on my social and cognitive development. Here are four ways that imaginative play on ride-on toys benefits me emotionally and intellectually: Enhanced social skills: When I play with others on ride-on toys, I learn to take turns, share, and communicate effectively. This helps me build friendships and navigate social situations. Emotional regulation: Through imaginative play, I can explore different scenarios and emotions. I learn to express and manage my feelings, which is crucial for developing emotional intelligence. Perspective-taking: Pretending to be different characters on ride-on toys helps me understand and empathize with others’ perspectives. I learn to see things from different angles and develop a sense of compassion. Cognitive growth: Imaginative play on ride-on toys stimulates my creativity, problem-solving skills, and critical thinking abilities. I learn to think outside the box and come up with innovative solutions. Overall, imaginative play on ride-on toys has a significant impact on my social and cognitive development. It allows me to express my emotions, develop empathy towards others, and grow intellectually. Empathy Through Role-Playing By stepping into different characters’ shoes during role-playing, I can understand and connect with the emotions of others on a deeper level. Empathy building activities and role playing techniques are powerful tools that help children develop their emotional intelligence and cultivate empathy towards others. Research has shown that engaging in role-playing activities can enhance a child’s ability to recognize and understand different emotions, as they actively experience and express those emotions through their chosen characters. Through this process, children learn to put themselves in someone else’s shoes, developing a sense of empathy and compassion. Role-playing also allows children to practice problem-solving and conflict resolution skills, as they navigate different social situations and work together with others. Overall, incorporating role-playing techniques into children’s playtime can greatly contribute to their emotional development and foster empathy towards others. Emotional Development in Play Engaging in role-playing activities allows me to explore and understand different emotions on a deeper level. Through play, children can develop their emotional skills and promote social skills. Here are four ways in which play fosters emotional development and promotes social skills: Emotional regulation: Play provides a safe space for children to express and manage their emotions. They can practice self-control and learn to cope with different feelings. Empathy: Role-playing helps children understand the perspectives and feelings of others. They can step into someone else’s shoes and develop empathy, which is essential for building positive relationships. Communication: Play encourages children to express their thoughts and feelings. They learn to communicate effectively, listen to others, and collaborate with their playmates. Problem-solving: Play scenarios often present challenges that require problem-solving skills. Children learn to think critically, negotiate, and find solutions, helping them develop skills that are crucial for social interactions. The Power of Imagination in Encouraging Emotional Expression Through imaginative play, I can witness how the power of imagination encourages emotional expression in children. Creativity plays a crucial role in a child’s emotional exploration and development. When children engage in imaginative play, they have the freedom to express their emotions, thoughts, and experiences in a safe and non-judgmental environment. This allows them to explore and understand their own feelings and the feelings of others. |Role of Creativity||Emotional Exploration| |Encourages children to think outside the box and come up with unique scenarios and stories||Provides an opportunity for children to explore different emotions and express them through play| |Fosters problem-solving skills and the ability to adapt to different situations||Allows children to role-play and experiment with different emotional responses| |Enhances cognitive skills such as imagination, memory, and attention||Helps children develop empathy and understand the perspectives and feelings of others| Through imaginative play, children can step into different roles and pretend to be someone else, which allows them to experience and understand various emotions. They may act out scenarios where they are sad, angry, or happy, giving them the opportunity to express and process their own emotions. Additionally, imaginative play enables children to develop empathy by putting themselves in the shoes of different characters and understanding their emotions. Research has shown that imaginative play can have a positive impact on children’s emotional well-being. It provides them with a platform to explore and express their emotions in a safe and controlled environment. By engaging in role-play and using their imagination, children can develop a better understanding of their own emotions and the emotions of others. This not only enhances their emotional intelligence but also helps them build stronger relationships and develop empathy towards others. It is important to encourage and support imaginative play as a means of fostering emotional expression and empathy in children. Nurturing Empathy Through Role-Playing in Ride-On Play When I participate in role-playing activities with children using ride-on toys, I can observe how their understanding of different perspectives and emotions grows. Role playing provides a safe and creative space for children to explore and express their emotions, as well as develop empathy towards others. Here are four ways in which role-playing in ride-on play nurtures empathy: Taking on different roles: Through role-playing, children have the opportunity to step into the shoes of different characters, allowing them to see the world from different perspectives. This helps them develop empathy by understanding how others may feel in certain situations. Problem-solving and conflict resolution: Role-playing often involves scenarios where children have to navigate conflicts and find solutions. This encourages them to consider the feelings and needs of others, fostering empathy and cooperative skills. Emotional expression: In role-playing, children can freely express a wide range of emotions, such as joy, sadness, anger, and fear. By exploring these emotions in a safe environment, children develop a greater understanding and empathy towards others experiencing similar feelings. Building relationships: Role-playing activities promote social interaction and cooperation among children. By working together, they learn to communicate, compromise, and support one another, developing empathy and building strong relationships. In supporting emotional well-being in children through imaginative play, role-playing provides a powerful tool for nurturing empathy and emotional understanding. Supporting Emotional Well-being in Children Through Imaginative Play I find that participating in imaginative play with children helps to support their emotional well-being by allowing them to explore and understand their own emotions in a safe and creative environment. Research has shown that play therapy, which includes imaginative play, can be an effective tool in promoting emotional expression and empathy in children (Bratton et al., 2005). By engaging in pretend play scenarios, children have the opportunity to step into different roles and explore various emotions. This allows them to develop a deeper understanding of their own emotions and the emotions of others. Supportive environments are crucial in facilitating emotional well-being in children during imaginative play. Creating a safe space where children feel comfortable expressing themselves without judgment or fear of consequences is essential. Providing a range of props and materials that encourage emotional exploration, such as dress-up clothes or puppets, can also enhance the experience. Additionally, offering guidance and validation during play can help children develop emotional intelligence and empathy. In the subsequent section, I’ll discuss strategies for encouraging emotional expression and empathy in ride-on play. Transitioning to ride-on play allows children to further explore and express emotions while engaging in physical movement. Strategies for Encouraging Emotional Expression and Empathy in Ride-On Play To foster emotional growth and understanding during ride-on play, it’s important to create a supportive environment that encourages children to freely express themselves and connect with others. This not only enhances their emotional well-being but also nurtures their ability to empathize with others. Here are four strategies for encouraging emotional expression and empathy in ride-on play: Provide a variety of ride-on toys: Offering a range of ride-on toys allows children to choose the one that resonates with their emotions and interests. Whether it’s a cozy coupe car or a rocking horse, different toys elicit different emotions and encourage children to express themselves. Encourage role-playing: Role-playing is a powerful tool for nurturing empathy. By pretending to be someone else, children can understand and relate to different perspectives, promoting emotional understanding and empathy towards others. Create opportunities for collaborative play: Collaborative play helps children develop social skills and emotional intelligence. Encourage children to take turns, share their ride-on toys, and engage in cooperative play with their peers. This promotes empathy by allowing children to understand and respond to the emotions and needs of others. Foster open communication: Create a safe space for children to express their emotions during ride-on play. Encourage them to talk about how they feel and listen attentively to their thoughts and concerns. Validating their emotions and providing support helps children develop emotional literacy and empathy. Frequently Asked Questions How Does Emotional Expression in Imaginative Ride-On Play Impact Children’s Overall Emotional Development? Emotional expression in imaginative ride-on play has a significant impact on children’s overall emotional development. Research shows that engaging in imaginative play allows children to explore and express a wide range of emotions in a safe and controlled environment. This helps them develop emotional regulation skills and enhances their understanding of different emotions. Moreover, imaginative play promotes social skills by encouraging children to collaborate, negotiate, and take on different roles, fostering empathy and understanding towards others. What Are Some Practical Strategies for Fostering Empathy in Imaginative Ride-On Play? When it comes to fostering empathy in imaginative ride-on play, there are several practical strategies that can be effective. One important strategy is encouraging children to take on different roles and perspectives during play. This allows them to step into someone else’s shoes and understand their feelings and experiences. Another strategy is promoting cooperative play, where children work together towards a common goal, fostering teamwork and understanding. Can Imaginative Ride-On Play Help Children Develop Better Emotional Regulation Skills? Imaginative ride-on play can indeed help children develop better emotional regulation skills. By engaging in this type of play, children have the opportunity to explore different emotions and express them in a safe and controlled environment. They can practice self-regulation techniques, such as deep breathing or taking a break when feeling overwhelmed. Additionally, imaginative play allows children to understand and empathize with the emotions of others, further enhancing their emotional regulation abilities. Overall, the benefits of imaginative play on emotional regulation are significant and should be encouraged. How Does Role-Playing in Ride-On Play Contribute to the Development of Empathy and Emotional Understanding in Children? When it comes to role-playing in ride-on play, the benefits are immense. It not only allows children to use their imaginations and creativity, but it also contributes to the development of empathy and emotional understanding. Through pretend play, children are able to step into different roles and perspectives, understanding how others may feel in certain situations. This helps them cultivate empathy and enhances their emotional intelligence, making them more compassionate and understanding individuals. What Are Some Specific Ways in Which Imaginative Play Supports Children’s Emotional Well-Being? Imaginary friends and pretend play have numerous benefits for children’s emotional well-being. Engaging in imaginative play allows children to explore and express their emotions in a safe and controlled environment. It helps them develop problem-solving skills, creativity, and self-regulation. Pretend play also provides an opportunity for children to understand and empathize with different perspectives and emotions, cultivating their social and emotional development. Overall, imaginative play plays a crucial role in supporting children’s emotional well-being and fostering their overall growth. In conclusion, the power of imaginative ride-on play in fostering emotional expression and empathy in children can’t be underestimated. Through this type of play, children have the opportunity to explore and understand their own emotions, as well as develop the ability to empathize with others. Research has shown that ride-on play can enhance emotional intelligence and promote emotional well-being in children. By encouraging emotional expression and empathy in ride-on play, we’re nurturing the emotional development of children and setting them on a path towards healthy social and emotional growth.

<urn:uuid:325881d1-79a9-40c0-93e0-5f4fb27ca8cd>

CC-MAIN-2023-40

https://toddlerrideontoys.net/emotional-expression-and-empathy-in-imaginative-ride-on-play/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233511055.59/warc/CC-MAIN-20231003060619-20231003090619-00586.warc.gz

en

Invisibility of women The role of women in different periods and countries of each text is almost the same and women are equally evaluated during different times. The main role of women is presented as a mother who cares for children and who is responsible for their safety and prudence. Except for men’s women-relatives (mother, sister, etc.), there are other women in whom men see sexual partners or cut-price housekeepers. Even if men marry women not only as a way out, their duty as underrated wives is already determined by social norms and narratives. What is more, women are considered potential perverts who tend to spoil the family and further the whole country because women are the main source of evil in the World. In a patriarchal society, a female ruler is a stranger to society, because a woman’s place is in the kitchen and she is considered as a mentally weak being who cannot be trusted with deeds that require mental capacity. The role of women is to be behind men, to meet their physical needs, and not to have the same rights as men. The main role of women is to be a mother, and they are well-presented only as mothers. A woman is presented primarily as a wise mother, who advises her son to make the right decision. In the epic of Gilgamesh, Gilgamesh’s mother presents as a wise and omniscient woman: ‘The mother of Gilgamesh was clever and wise, well versed in everything…’ (Gilgamesh 3). In the epic, Gilgamesh’s mother does not play the role of an ordinary mother, who is far from her son’s governance and who lives her personal life with her own care. She is a chief advisor and takes part in the life of the son and rules the city. She influences Gilgamesh’s important decisions such as the interpretation of his dreams (since dreams play a very important role for the Sumerian people, Gilgamesh trusts his mother), and blesses the friendship of Gilgamesh and Enkidu. In the case of Saint Augustine’s mother, her main role is formed around religion, and at the beginning the impression that she is not influential for her son due to the rejection of Christianity and distance from her and her father. Opinion changes when he joins Christianity and calls it the true path. The main reason finding himself, Saint Augustine claims that it is his mother and her prayers for him: ‘… For she has done all in her power that you, my God, maybe my father truer than he is, and you have so helped her in this that she has triumphed over her husband, whom she served – though she was the best of the two-because in so doing she served you who gave her this command…’ (Confession 11). Saint Augustine even admits his mother more than his father is noticeable by the way he writes a lot about his mother and nothing about his father. Saint Augustine’s mother, Monica is not only influential during his joining Christianity, but however in her son’s personal life. Monica, the mother of Saint Augustine, decides to marry her son to a socially equal young woman and sends his concubine to Africa (Confession 96). Judging by how his mother behaves, we can assume that she is very tactful and knows how to work for a long-term result. She is not a counselor like Gilgamesh’s mother, but still has respect on the part of her son. Similarly, in Baburnama’s records, his mother plays the role of the ordinary mother of the ruler of Eastern countries. In Muslim countries, harems exist for rulers and other powerful people. The main harem is the mother of the harem owner and she is engaged in the selection of virgins for her son. There are other women from conquered countries who are selected in most cases as concubines and slaves who do household chores in the palace. However, his grandmother, Imam, is actively present mostly in political decisions. Baburnama mentions her in the records: “Few women were my maternal grandmother’s equal in judgment and counsel. She was very wise and farsighted, and most of my affairs were conducted with her advice” (Baburnama: Journal of Emperor Babur 19). His grandmother is very experienced in politics, international relations, and in matters within the family and country. In several parts, his grandmother advises him on very important decisions and raises questions of betrayal on the part of his supporters, but Babur does not listen to her opinion and fails, all that happened that prompts his grandmother. The grandmother warns that people who are self-interest should not be brought close to the throne, as they will betray Baburnama. Since the grandmother is a supporter of the absolute hierarchy, she advises Babur to put only family members and close relatives as chief ministers. She is presented as a visionary, experienced, and wise woman, but does not hold a position next to her grandson or is not the owner of the throne, even if she is wiser and more experienced than his young grandson, who did not listen to her advice. Obviously, it is inconceivable that a woman should be the head of state during his reign or take part in some influential position. In the division of the conquered lands, Baburnama does not even share lands with relatives-women: grandmothers, mothers, sisters, and legitimate wives, all to share for male relatives and male-faithful companions. The role of mothers in the first two texts is formed as mothers and the situation changes depending on the social status of their sons. Someone affects their personal life and someone involved as a counselor and assistant in politics in the third text Baburnama has the honor of having both a mother and grandmother who help him alone with numerous wives and concubines and the other in the political sphere. Women are often introduced only as sexual partners who pleasure the bodily desires of men. There are two types of women in the texts, the first type is related to a man that is, mother, sister, etc. and the second type is all women, who have the ability to satisfy the sexual needs of men. Such women are presented as a temporary passion and as a source of all evil and at the same time all the good in their lives. In the epic of Gilgamesh, the only mortal woman who has a name and role is a harlot Shamhat. In the Sumerian civilization, harlots have a special status in society. Their way of life is shaped as participants of religion, as they are assistants of the goddess of Love and Fertility. Despite the stereotypical ideas about harlots in our time, in the time of Sumerian civilization, only the strongest and most beautiful women could become priests of love and assistants of the goddess Ishtar. Shamhat also carries out an important mission, which is to charm Enkidu and bring him to Gilgamesh. Women used to satisfy men and perceived them only as creatures who can do something only with the help of their sexual organs. Also being the ruler of the city of Uruk, Gilgamesh had the right to the first night with any girl who had just married. This tradition was practiced in many civilizations and is considered to be the accepted social norm and privilege for feudal lords, rulers, and other powerful people. Gilgamesh has such a right and can have sexual intercourse with the newlywed. The first marriage night with the ruler is considered an honor to spend the night with the ruler for the bride and is considered as an honor that the first man of his wife was the ruler. Women are not asked whether they want it or not. In case they do not want to do it women anyway do not have a choice or right to decide for themselves. Saint Augustine has a concubine but not a legitimate wife proving that he needs a woman only for sexual relations. Illegal marriages are a profitable way out of taking responsibility for a family. Saint Augustine says: In those days I had one woman. We weren’t married in the eyes of the law; my errant passion, bereft of serious thought, had sought Her out. But still, I had only her, and I was faithful to her. I discovered by my own experience how great a difference there is between the due Measure of lawful marriage, which is a covenant for the sake of procreation, and an agreement between lustful lovers who mean to avoid Having children – though once children are born, we can’t help loving them (Confession 44). Saint Augustine perceives a woman only as a sexual partner, which can be left at any time or given to another man. The role of a woman as a concubine determines her low position in society, as a role of a concubine implies that a woman is only in the role of a sexual partner and a householder with whom no one wants to have children (as in the case of Saint Augustine). The woman to whom Saint Augustine should marry is assessed not as a partner in life, but as a suitable ‘compliment’ for the status of Saint Augustine as an educated man. Despite the agreement to marry the future wife of Saint Augustine, the philosopher does not wait for her coming of age and has sexual relations with another woman. This is proved in Saint Augustine’s case that men are polygamous and cannot do without sex for a long time. During Baburnama’s reign, harems were actively practiced. Every ruler of the Muslim state had to have many concubines, slaves, and wives. The purpose of this practice was to continue the family, which could continue the father’s business and lead the state. Most of the concubines and slaves are women of the conquered states. The main factors are the presence of virginity and external beauty. Taking girls to their place as concubines had a nominal role of ‘protection’ of the female sex, but the real role is played by the deprivation of absolutely all rights and the choice of women and the forced submission to the conqueror. Most beautiful concubines are prepared for the night with the overlord and it is not important whether women want or not, they have to obey, or the punishment could be the return of a woman to brothels to satisfy men’s sexual needs or take their lives. Others had to do household chores in the palace: cleaning, laundry, cooking, babysitting, and gardening. Women’s important values as intelligence, wisdom, and feelings are not needed by men, women are not privileged to be described in men’s texts. The main thing that they mention is how a woman satisfies a man and what are the consequences of it. Women are to blame for all the bad things that happen in society, and if women do something good then it’s because they have to make their commitments. Lord Krishna blames women for spoiling a society that is created and improved by men: ‘In overwhelming chaos, Krishna, women of the family are corrupted; and when women are corrupted, Disorder is born in society’ (Bhagavad Gita 29). Krishna supported the caste division into four layers: priests, warriors, merchants, and servants. It is believed that the woman has a marital relationship while her husband is at war, and this is done for an extramarital child. Castes were mixed, and that’s what he called ‘disorder.’ Mixing the caste leads to a mixture of blood and the future child will not know his pedigree. Mixing castes is forbidden to all, but if in an illegal relationship only women have blamed again, not both women and men. Krishna’s thought carries sexist significance because he blames the disorder only on the woman, not both who participated in the creation of the disorder and it creates unequal judgment of the guilty. Any problem in the upbringing of children or in the problems of the current home is the fault of the woman because it is the duty of the woman to do everything perfectly and to be perfect too. On the responsibilities of women says another Virginia Woolf: “There is no mark on the to measure the exact height of women. There are no yard measures, neatly divided into the fractions of an inch, that one can lay against the qualities of a good mother or the devotion of a daughter, or the fidelity of a sister or the capacity of a sister a housekeeper” (A room of one’s own 92) women’s work is never evaluated, it is considered as something obliged for women like to brush their teeth and wash their hands and face in the morning. Since childhood, women have been taught to be ‘good housewives’ rather than personalities. Parents buy the toys of housewives and dolls, thereby they program their consciousness that the main idea of her life is to be a good housewife and have children. In Central Asian countries, the exploitation of women’s labor remains the norm. For example, in Central Asian countries, the word daughter-in-law automatically means free domestic work. The daughter-in-law should do all household chores in the house, keep up with work, meet numerous guests on holidays, and have time to give birth to children and take care of them. Women have such discriminating situations not only in Central Asia but all over the World every day. The role of women in a patriarchal society is not as a wife, partners, or lovers, but more as a slave and an object for the birth of children. In a patriarchal society, as in the days of Confucius and Marcus Aurelius, the woman must be submissive, quiet, and executive. A woman should not be in front of the public and not express her opinion because the opinion of a woman is not taken into account and men are always right in everything. A woman in a patriarchal society is described as a person of low standing. In an absolutely patriarchal society, women have no right to anything, even their own bodies. Because before marriage women’s body belongs to their parents after marriage it is automatically owned by their husband. Women in the eyes of men are low-rank creature who comes to the house for the birth of offspring and household chores. Also, among the students of Confucius, there is not a single woman, which means that women not only cannot study but however, are not recognized by society as men. The philosopher says, ‘Women and servants are most difficult to nurture. If one is close to them, they lose their reserve, while if one is distant, they feel resentful’ (Analects 62), in the time of Confucius a woman is not as fully respected as a man. Men have such an opinion about women that she needs to be nurtured and changed their consciousness to adjust to the man. For example, in the time of Confucius, a special joy is the birth of a boy in the family, because first, he is a successor of the family and secondly the labor force for the family that would bring home income or work in their own business. The birth of a girl is not such happiness because it needs to be kept financially before her marriage (which happens very at an early age for a woman). Similarly, Eastern countries have the same patriarchal system, for Central Asian countries there is great joy to have a newborn baby exactly male. If for example the family does not have a boy and has girls they call their daughters by the names of Uulkelsin, Uulboldu, and Uuljan, (the word “Uul” is translated as “Son” from Kazakh, Kyrgyz, and Uzbek languages). There are also a few low-intellectual traditions for girls in a family that does not have a boy. A family forced their girls to dress like boys, shave their hair, and in every way mock the appearance of girls. Thus parents first of all oppress the future person, that being a woman is not profitable and undesirable in society. That a woman’s role is not as important as that of a man, which is followed by an uncertain and oppressed generation of personalities. The same situation with the birth of children is in Rome. Being a Roman is an honor for a man and a valued man to enjoy this honor. Marcus Aurelius writes Meditation only for himself as a personal diary, but being an exemplary leader and philosopher he does not mention women and uses personal pronouns such as “his”, “he” and the word “men”. In the fourth book, he writes, “A black character, an effeminate, unbending character, the character of a brute or dumb animal: infantile, stupid, fraudulent, coarse, mercenary, despotic” (Meditations 29). Marcus Aurelius’ thought is sexist because he lists all the bad character traits and adds an effeminate character thus claiming that a woman’s character is one of the worst that it can be compared to the character of a silly, oppressive, and self-interested person. Marcus Aurelius presents women as creatures from which bad things only happen making readers think that he is a misogynist. In a patriarchal society, women have a low social position and are completely dependent on the opposite sex, and men have absolute authority in the family, society, and politics. Elevating Essay Writing: Delivering Excellence and Literary Distinction Crafting Essays that Leave a Lasting Impression In the realm of academic expression, where words have the power to shape ideas and inspire minds, we stand as a beacon of excellence. As dedicated essayists, we take immense pride in our ability to weave words into captivating narratives, enlightening arguments, and thought-provoking analyses. Our journey as essay writers has been one of continuous growth and meaningful impact. Let’s explore some remarkable instances where our expertise has made a significant difference. Guiding Students Towards Success Our journey is intertwined with the success stories of numerous students who sought our guidance. In one instance, a struggling undergraduate approached us with an intricate topic in the field of sociology. Through meticulous research and a nuanced understanding of the subject, we formulated an essay that not only secured the student’s academic standing but also ignited their passion for social sciences. Similarly, a graduate student grappling with the complexities of literary criticism found solace in our expertise. We delved into the depths of literary theory, dissecting texts and exploring nuanced interpretations. The resulting essay not only garnered accolades but also instilled a newfound confidence in the student’s analytical abilities. Breathing Life into Topics: Examples of Our Endeavors The Intersection of Technology and Society: In an era dominated by technological advancements, we embarked on an essay that explored the intricate relationship between technology and society. By seamlessly blending sociological insights with technological trends, we created an essay that resonated with readers across disciplines. Environmental Ethics and Sustainability: With environmental concerns taking center stage, we took on the challenge of crafting an essay that delved into the ethical dimensions of sustainability. Through rigorous research, we presented a compelling argument that not only addressed the urgency of the issue but also proposed actionable solutions. Literary Analysis: Unraveling Symbolism: Literary works often conceal layers of symbolism. In an essay dedicated to the works of a renowned author, we unraveled the subtle threads of symbolism woven into the narrative. This essay not only celebrated the author’s craftsmanship but also offered readers a deeper appreciation for the written word. A Tapestry of Literary Accolades Our dedication to the art of essay writing has not gone unnoticed. Over the years, we have had the privilege of being recognized in esteemed literary competitions that celebrate creativity and intellectual prowess. These accolades serve as a testament to our commitment to delivering essays that transcend the ordinary and venture into the extraordinary. Literary Award Highlights Eloquent Prose Prize: Awarded by the Prestigious Wordsmith Guild, this accolade celebrated our mastery over language and the art of storytelling. The essay that earned us this honor explored the nuanced emotions of human existence through a compelling narrative. Critical Thinker’s Commendation: Presented by the Symposium of Intellectual Thought, this award acknowledged our prowess in critical analysis. Our essay, dissecting the philosophical underpinnings of existentialism, showcased our ability to navigate complex ideologies with finesse. Literary Luminary Award: Conferred by the Literary Confluence, this award celebrated our contribution to literary discourse. The winning essay, an exploration of the intersection between culture and identity, captured the essence of diverse human experiences. Conclusion: Pioneering Excellence in Essay Writing As we reflect on our journey as essayists, we are filled with a profound sense of purpose. Our dedication to delivering exceptional essays that enlighten, engage, and inspire remains unwavering. Through intricate narratives, incisive analyses, and unwavering commitment to the written word, we have carved a niche for ourselves in the realm of academic and literary excellence. Join us as we continue to shape ideas, foster growth, and transcend boundaries through the power of the written essay. Women in all texts are present as objective characters, and the subjects are men. Women do not have such important roles in the family, society, or politics, and if there are women, their work is not taken into account or evaluated. The main role of women is to be a mother and if not a mother then a sexual partner who satisfies men. Currently, by the word Marriage, the citizens of a democratic state understand the mutual union of two loving people, but in the time of absolute patriarchy, marriage is the exploitation of women’s labor and body because only a man benefits from marriage. Whichever woman is wise, beautiful, and the executive of her affairs is never mentioned properly as mentioned in the affairs of men because society does not want to accept women, and women themselves get used to such circumstances that do not even think about themselves and continue to serve men. - Saint Augustine. Confessions. Translated by Thomas Williams. Indianapolis: Hackett Publishing Company, Inc, 2019. - Babur. The Baburnama: Memoirs of Babur, Prince, and Emperor. Translated by W. M. Thackston. Washington, D.C: Freer Gallery of Art: Arthur M. Sackler Gallery, Smithsonian Institution, 1996. - Babur, Susannah et.al. Babur Nama journal of Emperor Babur. Gurgaon Penguin Random House India. 2017 - De Bary, Wm Theodore, Irene Bloom, Wing-sit Chan, Joseph Adler, and Richard John Lufrano. ‘Confucius and the Analects’. In Sources of Chinese Tradition, 2nd ed., 1:41–63. New York: Columbia University Press, 1999. - George, A. R., trans. The Epic of Gilgamesh: The Babylonian Epic Poem and Other Texts in Akkadian and Sumerian. New York: Penguin Books, 2000. - Marcus Aurelius. Meditations. Translated by Martin Hammond. London: Penguin, 2006. - Miller, Barbara Stoler, trans. The Bhagavad-Gita: Krishna’s Counsel in Time of War. New York: Bantam Dell, 2004. - Woolf, Virginia. A Room of One’s Own. London: Triad Grafton, 1987.

<urn:uuid:4496706b-3c03-459a-aa25-b3560891f975>

CC-MAIN-2023-40

https://guidessay.com/essay-on-role-of-women-in-gilgamesh-free-essay-example/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506479.32/warc/CC-MAIN-20230923030601-20230923060601-00286.warc.gz

en

Characterization is a fundamental aspect of both literature and television dramas, as it allows for the creation of complex and believable characters that captivate audiences. Through various literary techniques, writers are able to carefully craft characters with distinct personalities, motivations, and behaviors. Similarly, in TV dramas, characterization plays a crucial role in driving the plot forward and engaging viewers. By examining how authors utilize specific literary techniques and how these techniques translate into the realm of television storytelling, this article aims to explore the intricacies of characterization in both mediums. To illustrate the significance of characterization, let us consider the example of “Pride and Prejudice” by Jane Austen. In this classic novel, readers are introduced to a range of memorable characters such as Elizabeth Bennet, Mr. Darcy, and Mrs. Bennet. Through Austen’s skillful use of dialogue, internal monologues, and actions, each character comes alive on the pages. For instance, Elizabeth’s sharp wit and independent spirit are revealed through her clever exchanges with other characters while Mr. Darcy’s reserved nature is conveyed through his aloofness towards those around him. Such attention to detail in character development not only enhances the reader’s understanding but also brings an added layer of depth to the narrative and themes of the story. In a television drama, characterization is brought to life through various visual and auditory techniques. Actors bring their characters to life through their performances, embodying their personalities, quirks, and emotions. The use of costumes, makeup, and hairstyles further contribute to the visual portrayal of a character’s identity. Additionally, the setting and cinematography can also play a role in conveying the personality or background of a character. For example, a character living in a luxurious mansion might be depicted with elegant surroundings, while a character from a humble background may be shown in more modest settings. Dialogue remains an essential tool for characterization in both literature and television dramas. Through carefully crafted lines and exchanges, writers can reveal key aspects of a character’s personality, beliefs, and values. Just as readers interpret written dialogue in novels, viewers analyze spoken dialogue in TV dramas to better understand characters’ motivations and intentions. Characterization also relies on subtle cues such as facial expressions, body language, and tone of voice. These nonverbal communication signals help viewers interpret characters’ emotions or hidden agendas. A slight change in facial expression or posture can convey underlying thoughts or feelings that are not explicitly stated in dialogue. Moreover, narrative structure plays an important role in shaping how characters are characterized. In literature, authors have full control over how they introduce characters throughout the plot. They can choose to gradually unveil different facets of a character’s personality over time or present them fully formed from the beginning. Television dramas often employ similar techniques by introducing characters through specific scenes or episodes that highlight defining moments or traits. Ultimately, whether it is through literature or television dramas, effective characterization draws audiences into the world of the story by creating relatable and multidimensional characters. It allows readers and viewers to form emotional connections with these fictional individuals as they navigate conflicts and challenges within the narrative. By understanding the intricacies of characterization techniques employed by writers across mediums, we can appreciate the artistry behind creating captivating and memorable characters. The Role of Setting in Characterization Setting plays a crucial role in the development and portrayal of characters in literature and television. By providing a backdrop for their actions, setting helps to establish the context within which characters exist and interact with one another. Moreover, it serves as a powerful tool for writers and filmmakers to convey certain emotions or evoke specific responses from the audience. To illustrate this point, let us consider the popular TV drama series “Breaking Bad.” The show is set primarily in Albuquerque, New Mexico—a city known for its desert landscapes, wide-open spaces, and vibrant cultural heritage. This unique setting not only enhances the overall atmosphere of the story but also shapes the characters themselves. For instance, the vast expanse of desert surrounding Albuquerque symbolizes isolation and emptiness, mirroring protagonist Walter White’s emotional state as he descends into a life of crime. One way in which setting contributes to characterization is through its ability to create a sense of place that reflects aspects of a character’s personality or background. In literary works like F. Scott Fitzgerald’s “The Great Gatsby,” the opulent mansions and extravagant parties hosted by Jay Gatsby are situated against the backdrop of 1920s New York City—an era marked by excess, materialism, and social stratification. Through these settings, Fitzgerald conveys Gatsby’s desire for wealth and status as well as his longing for acceptance into high society. Furthermore, settings can influence character dynamics by shaping relationships between individuals. Consider an example where two characters meet at a small café tucked away on a quiet street corner amidst bustling city life. Here, they engage in intimate conversations away from prying eyes—thus establishing an environment conducive to vulnerability and deepening their connection. In summary, setting plays a fundamental role in character development by creating contextual frameworks that shape their behavior and interactions. It provides writers and filmmakers with opportunities to elicit specific emotional responses from audiences while highlighting important aspects of characters’ personalities and relationships. In the subsequent section, we will explore how dialogue serves as another powerful tool for characterization. Emotional Response Bullet Point List: |Intrigue||Captivating curiosity or interest||A mysterious mansion at night| |Compassion||Deep sympathy and understanding||Characters helping those in need| |Curiosity||Desire to know more about a situation||An unexplored secret location| |Empathy||Ability to understand and share feelings with others||Characters experiencing loss| With these emotions evoked by the setting, readers and viewers are drawn into the world created by writers and filmmakers, making them emotionally invested in the characters and their stories. Moving forward, we will examine how dialogue can be employed as an effective tool for character development without explicitly stating “step.” The Use of Dialogue as a Characterization Tool Moving beyond the role of setting in characterization, another powerful tool used by authors and television show creators is dialogue. Through carefully crafted conversations between characters, writers are able to delve deeper into their personalities, motivations, and conflicts. This section will explore how dialogue can be effectively employed as a means of character development. Dialogue serves as an essential vehicle for revealing the inner workings of a character’s mind. By analyzing the words spoken by individuals within literary works or onscreen dramas, we gain insight into their thoughts, beliefs, and emotions. For instance, consider the hypothetical case study of Rachel and Emily from the popular TV series “Friends.” In one episode, while discussing their dreams and aspirations, Rachel expresses her desire to work in fashion whereas Emily reveals her passion for photography. Their distinct choices highlight their individuality and provide viewers with valuable information about their interests and identities. To further illustrate the impact of dialogue on characterization, let us examine some key techniques utilized by skilled writers: - Subtext: Often more significant than what is explicitly stated, subtext involves hidden meanings conveyed through conversation. A character may say something innocuous on the surface but imply deeper emotions or intentions. - Tone: The manner in which dialogue is delivered can reveal much about a character’s personality. Whether it be sarcasm dripping off every word or genuine enthusiasm shining through each sentence, tone adds depth and complexity to fictional personas. - Interruptions: Intentional interruptions during conversations can emphasize power dynamics or indicate underlying tensions between characters. - Silence: Sometimes silence itself speaks volumes. Moments when characters choose not to speak can convey hesitation, discomfort, or profound contemplation. Through these techniques and others alike, effective use of dialogue enhances our understanding of characters’ backgrounds, desires, relationships with others, and personal growth over time. | Dialogue Technique | Description | Example | |-------------------|---------------------------------------------|--------------------------------------------| | Subtext | Hidden meanings conveyed through conversation | A character saying one thing but implying another | | Tone | Manner of delivery that reveals personality | Sarcasm, enthusiasm, aloofness | | Interruptions | Deliberate disruptions in conversations | Emphasizing power dynamics or tensions | | Silence | Non-verbal communication | Conveying hesitation or contemplation | As we have explored the various ways in which dialogue can be employed to develop characters, it becomes evident that this literary technique holds immense significance. By skillfully crafting conversations and utilizing subtext, tone, interruptions, and silence effectively, writers are able to create multi-dimensional individuals who captivate audiences with their authenticity. Building upon the exploration of characterization techniques, the subsequent section will delve into the use of symbolism and its impact on character development. Through symbolic elements within literature and television dramas, authors employ powerful metaphors to deepen our understanding of the characters’ journeys and enrich the overall narrative. Symbolism and its Impact on Character Development Transitioning from the previous section’s discussion on the use of dialogue as a characterization tool, we now turn our attention to another crucial aspect of character development in literature and television: symbolism and its impact. By utilizing symbols within a narrative, authors and TV show creators are able to imbue their characters with deeper meaning and evoke emotional responses from their audience. To illustrate this point, let us consider an example from literature. In F. Scott Fitzgerald’s iconic novel “The Great Gatsby,” the green light at the end of Daisy Buchanan’s dock serves as a symbol for Jay Gatsby’s longing for wealth, status, and ultimately his unrequited love for Daisy herself. This recurring symbol not only represents Gatsby’s aspirations but also highlights the theme of the American Dream and the emptiness that can accompany its pursuit. When examining how symbolism influences character development, several key observations emerge: - Evoking Emotions: Symbols have the power to elicit specific emotions or feelings within readers or viewers. Whether it be through color choices, objects, or actions associated with a particular character, symbols contribute to shaping an individual’s perception and understanding. - Multilayered Meanings: Symbols often possess multiple meanings that extend beyond their initial appearance. They can represent abstract concepts such as hope, freedom, or even societal values like justice or corruption. - Enhancing Themes: Symbolism aids in reinforcing overarching themes within a literary work or television drama. Through repetitive symbolic imagery related to certain characters’ traits or circumstances, writers effectively emphasize these thematic elements throughout the story. - Reader Engagement: The inclusion of symbols encourages active engagement by prompting readers or viewers to interpret their significance independently. This involvement fosters a more immersive experience as audiences seek to unravel hidden meanings behind various symbols. To further understand the influence of symbolism on character development, consider Table 1 below which showcases notable examples from both literature and popular TV dramas: Table 1: Examples of Symbolism in Literature and Television |Literary Work/TV Drama||Symbol(s) Used||Characters Impacted| |“To Kill a Mockingbird” by Harper Lee||The mockingbird||Tom Robinson, Boo Radley, Atticus Finch| |“Breaking Bad”||Colors (e.g., blue meth, white clothing)||Walter White, Jesse Pinkman| |“Harry Potter” series||The Deathly Hallows symbol||Harry Potter, Lord Voldemort| In summary, the implementation of symbolism facilitates character development by evoking emotions, adding depth through multiple meanings, enhancing thematic elements, and engaging readers or viewers. By utilizing symbols effectively within their narratives, authors and TV show creators can create more nuanced and compelling portrayals. Transitioning into our subsequent section on character arcs and their influence on the narrative, we delve deeper into how the transformation of characters over time shapes the overall story’s progression. Character Arcs and their Influence on the Narrative Symbolism plays a significant role in character development, adding depth and complexity to literary works. By using symbols, authors create layers of meaning that enhance the reader’s understanding of characters and their motivations. In television dramas, symbolism is also employed to convey deeper emotions and themes. To illustrate this point, let us consider the popular TV series “Breaking Bad.” In “Breaking Bad,” one powerful symbol used throughout the show is the color blue. Blue represents both purity and corruption. At the beginning of the series, Walter White, the protagonist turned antagonist, wears light blue clothing as a high school chemistry teacher striving for moral rectitude. However, as he delves into manufacturing methamphetamine to secure his family’s financial future after being diagnosed with cancer, his transformation into a morally compromised individual is reflected through increasingly darker shades of blue in his wardrobe choices. The utilization of symbolism in literature and television serves various purposes when it comes to character development: - It creates an emotional connection between readers/viewers and characters. - It adds depth and richness to the narrative by conveying abstract ideas or concepts. - It allows for indirect exploration of complex psychological states or internal conflicts. - It enhances thematic elements by reinforcing key motifs or recurring symbols. To further understand how symbolism can impact character development, consider the following table showcasing different examples from notable works of literature and television: |The Green Light at Daisy’s Dock||The Great Gatsby||Green Light||Unattainable desires/illusionary dreams| |Red Wedding Scene||Game of Thrones||Blood||Betrayal/violence/death| |Mockingjay Pin||The Hunger Games||Mockingjay Bird||Resistance/rebellion/hope| |The White Whale||Moby-Dick||White Whale||Obsession/destruction/fate| By analyzing these examples, we can appreciate how symbolism contributes to a character’s development and the overall impact it has on the narrative. Symbolism provides an avenue for authors and TV show creators to convey complex emotions, moral dilemmas, and thematic elements in a thought-provoking manner. Moving forward, let us explore another crucial aspect of characterization: the role of foils. Foils are characters who contrast with one another, highlighting their differences or similarities. Through this comparison, readers/viewers gain deeper insights into the motivations and traits of each character involved. The Role of Foils in Characterization Building upon the concept of character arcs, another effective technique employed in characterization is the use of foils. By contrasting two characters with opposing traits and qualities, writers are able to highlight certain aspects of a character’s personality or bring out hidden depths within them. This technique adds depth and complexity to both individual characters and the overall narrative. Foils serve as powerful tools for highlighting contrasting characteristics in literature and television dramas. For instance, let us consider the classic novel “Pride and Prejudice” by Jane Austen. The protagonists, Elizabeth Bennet and her sister Jane, can be seen as foils to one another. While Elizabeth is portrayed as witty, independent-minded, and quick to judge others based on first impressions, Jane embodies gentleness, patience, and an inclination towards seeing the best in people. Through this stark contrast, Austen skillfully showcases how these differing personalities shape their experiences and interactions throughout the story. To further understand the impact of using foil characters in storytelling, we can explore several key elements: - Amplification: Foil characters amplify certain traits or flaws possessed by the main character through direct comparison. - Conflict: The differences between foil characters often lead to conflicts that drive the plot forward while revealing different dimensions of each character involved. - Insightful Reflections: Foils provide readers or viewers with insightful reflections on various themes or issues explored in the narrative. - Emotional Engagement: The presence of foil characters evokes emotional responses from audiences due to their contrasting natures. In order to better comprehend how foil characters contribute to characterization, consider Table 1 below which illustrates some notable examples across diverse literary works: |Main Character||Foil Character||Contrasting Traits| |Sherlock Holmes||Dr. Watson||Rationality vs. Empathy| |Harry Potter||Draco Malfoy||Bravery vs. Cowardice| |Katniss Everdeen||Peeta Mellark||Independence vs. Dependence| Table 1: Examples of Foil Characters in Literature Through the strategic use of foils, authors and screenwriters create dynamic relationships between characters that enrich the narrative experience. By contrasting traits, foils serve to emphasize certain qualities, generate conflict, provide deeper insights into themes, and elicit emotional responses from audiences. Understanding how different characters complement or challenge one another is crucial for comprehending their motivations and actions within a story. Character motivation plays an essential role in driving plot progression and unraveling complex narratives. With this understanding, we will now delve into exploring the intricate relationship between character motivations and plot development. Character Motivation and its Effect on Plot Progression Section H2: The Role of Foils in Characterization Building upon the exploration of foils as a tool for character development, this section delves into the intricate connection between character motivation and plot progression. By understanding how characters’ desires shape their actions, we can gain insight into the overall narrative structure and thematic elements portrayed in literary works and television dramas. To illustrate the significance of character motivation, let us consider a hypothetical case study. In a popular TV drama series, two main characters, Alex and Sarah, find themselves entangled in a complex web of deceit and betrayal. While both desire success and wealth, Alex is driven by his thirst for power, while Sarah seeks financial stability to support her family. These distinct motivations create contrasting paths for the characters throughout the story arc. Character motivation plays a pivotal role in influencing plot progression through several key mechanisms: - Decision-making: Characters’ motivations guide their choices within the narrative, leading them down different paths that drive the story forward. - Conflict generation: Divergent motivations among characters often result in conflicts or tensions within the storyline, intensifying dramatic moments. - Theme reinforcement: Through exploring various character motivations, authors and screenwriters reinforce overarching themes such as ambition, love, or redemption. - Emotional engagement: When audiences empathize with well-developed characters whose motivations align with their own values or experiences, an emotional bond is formed between viewers/readers and the narrative. Consider these emotional responses evoked by compelling character motivations: - Sympathy towards a protagonist’s quest for justice against all odds - Frustration when witnessing antagonist-driven actions that hinder progress - Excitement during unexpected plot twists triggered by conflicting motives - Satisfaction derived from witnessing character growth and evolution To further comprehend the interplay between motivation and plot progression, let us examine a three-column table showcasing different characters’ motivations and their corresponding impact on the narrative: |Alex||Power||Drives the story towards chaos| |Sarah||Family||Introduces moments of vulnerability| |Mark||Revenge||Fuels intense conflicts| By analyzing these character motivations alongside their narrative consequences, we gain an enhanced understanding of how authors and screenwriters utilize this dynamic to shape engaging storytelling experiences. Incorporating elements such as emotional bullet points and a comparative table allows readers/viewers to connect with the analysis at both an intellectual and emotional level.

<urn:uuid:fde63bce-50f0-4600-9301-43704d6bbcd2>

CC-MAIN-2023-40

https://cienciaficcion.org/characterization/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510462.75/warc/CC-MAIN-20230928230810-20230929020810-00484.warc.gz

en

Text-to-speech (TTS) synthesis is an essential component of speech technology, enabling the conversion of written text into spoken language. This transformative capability has resulted in various applications across industries, from assistive technologies for individuals with visual impairments to voice assistants used in smart devices. For instance, imagine a scenario where a visually impaired individual receives an email containing important information about their upcoming appointment. Utilizing TTS synthesis, they can have the content of the email read aloud to them, providing access to vital information that would otherwise be inaccessible. In this article, we will provide an informational overview of TTS synthesis in speech technology. We will examine the underlying principles and techniques involved in converting textual input into natural-sounding speech output. Furthermore, we will explore its diverse range of applications and discuss potential challenges faced by developers in achieving high-quality and intelligible synthesized speech. By gaining a comprehensive understanding of TTS synthesis, readers will be equipped with valuable insights into this rapidly advancing field and its implications for future advancements in human-computer interaction and accessibility. Overview of TTS Voices Text-to-speech (TTS) synthesis is a vital component in speech technology that aims to convert written text into spoken words. The development of natural and intelligible TTS voices has been an ongoing pursuit, with researchers and engineers continuously striving to improve the quality and expressiveness of synthesized speech. To illustrate the significance of TTS voices, let us consider a hypothetical scenario where an individual with visual impairment relies on screen readers for accessing digital content. In this case, the choice of TTS voice becomes crucial as it directly affects the user’s experience and comprehension of the text being read aloud. A monotonous or robotic voice may hinder understanding, while a more expressive and human-like voice can enhance engagement and ease of listening. When considering different TTS voices, several factors come into play that determine their suitability for various applications: - Naturalness: The degree to which a synthesized voice resembles human speech plays a significant role in its effectiveness. Naturalness encompasses aspects such as intonation, prosody, pronunciation accuracy, and fluency. - Expressiveness: While naturalness focuses on mimicking authentic human speech, expressiveness goes beyond by adding emotional nuances to the synthesized voice. This allows for conveying emotions like happiness, sadness, excitement, or anger effectively. - Language Support: Different languages have distinct phonetic characteristics and linguistic rules. An ideal TTS system should offer support for multiple languages to cater to diverse global audiences. - Voice Customization: The ability to personalize the TTS output according to individual preferences further enhances user satisfaction and engagement. |Voice Quality||User Satisfaction| In conclusion, selecting appropriate TTS voices is essential in ensuring optimal communication experiences for users relying on synthetic speech technology. By considering factors such as naturalness, expressiveness, language support, and customization options, developers can create TTS systems that truly meet the needs of diverse users. In the subsequent section on “Customizing TTS Voices,” we will explore how voice personalization can further enhance the usability and effectiveness of synthesized speech in different contexts. Customizing TTS Voices Building upon the understanding of different TTS voices, this section delves into the process of customizing these voices to suit individual preferences and needs. By exploring various techniques and parameters, users can personalize their text-to-speech experience. When it comes to personalization, one approach is adjusting the voice’s pitch and speed. For instance, imagine a user who prefers a more upbeat and energetic tone for an audiobook narration. By increasing the pitch slightly and speeding up the speech rate, they can create a livelier listening experience. Conversely, someone seeking a calm and soothing voice for relaxation purposes may opt for lower pitches with slower speaking rates. To further customize TTS voices, users have access to several crucial parameters: - Volume: Adjusting the volume allows individuals to find the perfect balance between audibility and comfort. - Emphasis: This parameter controls how certain words are stressed or highlighted in speech, enhancing expressiveness. - Intonation: The use of intonation patterns helps convey meaning by signaling questions, statements, or other linguistic nuances. - Articulation: Fine-tuning articulation enables clearer pronunciation of specific sounds or words within synthesized speech. Notably, customization options extend beyond straightforward adjustments to encompass more complex modifications as well. Users can manipulate prosody—the rhythm, stress patterns, and intonation—of TTS voices using advanced techniques such as markup languages like SSML (Speech Synthesis Markup Language). Through detailed control over elements like emphasis placement or pause duration at sentence boundaries, individuals gain enhanced expressive capabilities in synthesized speech. As we explore methods for controlling prosody in TTS systems in the subsequent section, it becomes evident that even minute modifications can significantly impact how synthetic voices sound and feel. Understanding these possibilities empowers users to craft personalized audio experiences tailored precisely to their desires Controlling Prosody in TTS With a solid understanding of customizing TTS voices, let us now delve into the fascinating realm of controlling prosody in text-to-speech (TTS) synthesis. By manipulating various aspects of speech such as pitch, duration, and volume, prosody plays a crucial role in conveying meaning and emotion. Prosody refers to the rhythmic and melodic patterns of speech that help convey linguistic information beyond the words themselves. It encompasses elements like stress, intonation, rhythm, and emphasis. One example where controlling prosody is essential is in audiobook narration. A skilled narrator can modulate their voice to match the mood of different scenes—softly whispering during an intimate conversation or raising their voice during moments of tension—to enhance the listener’s experience. To better understand how prosody can impact communication effectiveness, consider these emotional responses: - Excitement: When a sentence is delivered with increased pitch range and faster speaking rate. - Sadness: Slower tempo coupled with decreased pitch range conveys a somber tone. - Anger: Increased intensity through heightened volume and abrupt changes in pitch. Table: Emotional Responses to Prosodic Manipulation |Emotion||Pitch Range||Speaking Rate| Understanding these emotional nuances allows developers to fine-tune TTS systems for applications ranging from automated customer service interactions to virtual assistant responses. By incorporating appropriate prosody control techniques, synthetic voices become more expressive and relatable to users’ needs. As we move forward in our exploration of TTS technology, our next focus will be on Adjusting Speech Rate—a fundamental aspect that shapes human-computer interaction dynamics seamlessly. [Transition to the subsequent section: Adjusting Speech Rate in TTS] Adjusting Speech Rate in TTS In the previous section, we explored various techniques for adjusting the speech rate in Text-to-Speech (TTS) synthesis. Now, let us delve into another crucial aspect of TTS technology: controlling prosody. Prosody refers to the rhythm, stress, and intonation patterns that give speech its natural flow and expressiveness. To illustrate the importance of prosody control in TTS systems, consider a hypothetical scenario where an individual uses a voice assistant application to read an audiobook aloud. Without proper prosodic variation, each sentence would be delivered with a monotonous tone, lacking the emotional nuances conveyed through changes in pitch, volume, and timing. This robotic delivery could significantly detract from the listener’s engagement and comprehension. Achieving effective prosody control in TTS involves several techniques: - Pitch manipulation: By varying the fundamental frequency of generated speech signals across different linguistic units such as syllables or phrases, TTS systems can mimic natural pitch contours associated with different emotions or emphasis. - Duration adjustment: Altering the length of specific segments within synthesized speech allows for better representation of pauses and phrasing patterns found in human speech. - Stress placement: Ensuring appropriate emphasis on certain words or syllables adds clarity and meaning to spoken sentences by mirroring natural language stress patterns. - Intonation modeling: Capturing the rise-fall-rise contour characteristic of question utterances or indicating surprise through pitch variations contributes to more expressive synthetic speech. By employing these techniques together with other advanced algorithms, modern TTS systems have made significant strides towards generating more natural-sounding voices that are capable of conveying emotional richness similar to human speech. |Emotion||Voice Characteristics||Example Sentence| |Excitement||Increased pitch variation||“I cannot wait to share this!”| |Sadness||Slower speech rate||“There is a deep sense of loss.”| |Anger||Louder volume, higher pitch||“This is absolutely unacceptable!”| |Surprise||Sudden changes in intonation||“I can’t believe what I just heard!”| In summary, controlling prosody is vital for creating natural and engaging synthetic voices in TTS systems. By manipulating factors such as pitch, duration, stress placement, and intonation modeling, these systems can replicate the expressive qualities found in human speech. Now let us delve into the realm of emotional TTS and discover how it enables synthesized voices to convey a wide range of emotions with remarkable fidelity. Exploring Emotional TTS Building upon the ability to adjust speech rate in text-to-speech (TTS) synthesis, researchers have delved into the realm of emotional TTS. By infusing synthesized voices with emotions such as happiness, sadness, anger, or surprise, a more engaging and expressive form of communication can be achieved. This section explores the advancements made in emotional TTS and its potential applications. The Power of Emotion in Synthetic Voices: Imagine receiving an automated phone call from your favorite online retailer with a synthetic voice that genuinely expresses excitement about new deals and promotions. Such emotionally rich interactions are now within reach thanks to advancements in emotional TTS technology. By manipulating prosody, intonation patterns, and acoustic features, synthetic voices can effectively convey not only information but also subtle emotional nuances. Emotional Expressiveness Techniques: To create emotionally expressive synthetic voices, researchers have developed various techniques: - Prosodic Manipulation: Altering pitch range, duration, and intensity to mimic different emotional states. - Voice Conversion: Modifying existing recorded human utterances to imbue them with specific emotions. - Deep Learning Approaches: Training neural networks on large emotion-labeled datasets to generate emotive speech. Table – Examples of Emotional States Conveyed by Synthetic Voices: |Emotion||Acoustic Features||Example Utterance| |Happiness||Increased pitch range||“I’m thrilled!”| |Sadness||Decreased intensity||“I feel so down.”| |Anger||Enhanced vocal tension||“I am furious!”| |Surprise||Sudden changes in pitch||“What? No way!”| The introduction of emotional TTS opens up a wide array of possibilities for its application across various domains: - Assistive Technologies: Synthetic voices that can convey empathy and understanding could greatly assist individuals with emotional disorders or those in need of counseling. - Entertainment Industry: Emotional TTS has the potential to enhance video game characters, virtual assistants, and animated movies by bringing them to life with relatable emotions. - Human-Robot Interaction: Robots equipped with emotionally expressive synthetic voices can better engage and communicate with humans, fostering more natural interactions. As we delve further into the advancements made in text-to-speech synthesis, it is essential to explore its multilingual capabilities. By extending beyond language barriers, TTS technology continues to evolve and facilitate effective communication on a global scale. Multilingual Capabilities of TTS Exploring Emotional TTS: Enhancing User Experience Consider a scenario in which a visually impaired individual is using a text-to-speech (TTS) system to navigate through an online platform. As the user interacts with the interface, they encounter various emotional cues conveyed by the synthesized voice. These emotions range from excitement and enthusiasm when receiving positive feedback, to frustration or disappointment when encountering errors or obstacles. This example highlights how emotional TTS can enhance the user experience and create a more engaging interaction. Emotional TTS systems aim to go beyond mere information delivery by incorporating intonation, prosody, and emphasis into synthesized speech. By infusing emotion into the voices generated by these systems, users are provided with a more immersive and empathetic auditory experience. Emotionally enriched TTS holds great potential across multiple domains, such as assistive technology for individuals with visual impairments, interactive virtual assistants, storytelling applications, and even therapeutic interventions. To better understand the impact of emotional TTS on user engagement and satisfaction, let us explore some key characteristics of this technology: - Expressivity: Emotional TTS allows for greater expressiveness in synthetic voices compared to traditional neutral speech synthesis. It enables variations in pitch, speed, volume modulation, and other acoustic features that mimic human-like emotional expression. - Contextual Adaptation: Emotionally aware TTS systems can adapt their tone based on contextual factors such as dialogue content or specific user instructions. For instance, a customer service chatbot may employ different emotional tones while providing assistance versus delivering promotional messages. - User Customization: Some emotional TTS platforms offer users the ability to personalize the emotional style of synthesized voices according to their preferences. This customization empowers individuals to select voices that resonate best with them personally or professionally. - Enhanced Multimodality: Combining emotional TTS with other forms of communication like facial expressions or graphical elements enhances multimodal interactions between humans and machines, leading to more engaging and realistic user experiences. To illustrate the potential impact of emotional TTS on user experience, consider the following table: |Emotional Tone||User Reaction||Example Usage| |Excitement||Increased motivation||Gamification applications| |Calmness||Relaxation||Guided meditation or sleep aid apps| |Empathy||Comfort||Virtual support systems for mental health| |Assertiveness||Persuasion||Interactive language learning platforms| Understanding the influence of emotions in synthesized voices is crucial for designing effective TTS systems. The next section will delve into another important aspect: voice selection in TTS technology. By exploring how different voices can shape users’ perceptions and engagement levels, we gain insights into creating a truly immersive and emotionally resonant auditory experience. Understanding Voice Selection in TTS Transitioning from the discussion on the multilingual capabilities of text-to-speech (TTS) synthesis, we now turn our attention to an equally important aspect: voice selection. The choice of voice in TTS plays a crucial role in determining how effectively synthesized speech is conveyed and understood by listeners. By considering various factors such as accent, gender, age, and emotional expression, developers can enhance the overall output quality and user experience. To illustrate the significance of voice selection in TTS systems, let us consider a hypothetical scenario involving an e-learning platform catering to diverse global users. In this case, imagine two different voices being used for delivering instructional content – one utilizing a neutral accent commonly associated with international English speakers, and another employing a regional accent specific to a particular country or region. Research suggests that learners are more likely to engage with and retain information when presented with familiar accents or dialects representative of their own linguistic background. Thus, choosing appropriate voices based on the target audience can significantly improve comprehension and engagement levels. When it comes to selecting voices for TTS, several key considerations come into play: - Accent: Choosing an accent that aligns with the intended audience’s familiarity enhances understanding. - Gender: Certain contexts may call for specific genders due to cultural norms or preferences. - Age: Tailoring the perceived age of a voice character can impact its relatability and effectiveness. - Emotional Expression: Voices capable of conveying emotions like happiness or empathy add depth to the synthesized speech. In order to facilitate decision-making regarding voice selection in TTS systems further, Table 1 provides an overview of potential options based on these considerations: |Accent||Neutral / Local| |Gender||Male / Female| |Age||Young / Mature| |Emotional Express||Happy / Sympathetic| By thoughtfully considering these aspects and selecting appropriate voices, developers can optimize the effectiveness of TTS synthesis in conveying information to users. In doing so, they contribute to a more engaging and inclusive user experience. In the subsequent section on “Enhancing TTS Output with Customization,” we will explore how customization options further enhance the overall impact of synthesized speech. Enhancing TTS Output with Customization Building upon our understanding of voice selection in text-to-speech (TTS), we now delve into the realm of enhancing TTS output through customization. By tailoring synthesized speech to meet specific user preferences and requirements, this section explores how customization can further improve the quality and effectiveness of TTS systems. Customization plays a crucial role in adapting TTS output to individual needs. For instance, consider a hypothetical scenario where an elderly person with hearing impairments relies on a TTS system for accessing digital content. Through customization, it becomes possible to adjust various parameters such as pitch, volume, and speaking rate to optimize comprehension and ensure comfortable listening experience. This level of personalization not only enhances user engagement but also promotes inclusivity by catering to diverse auditory capabilities. To effectively customize TTS output, several factors come into play: - User Preferences: Customization allows individuals to select their preferred voice characteristics such as gender or accent. This aspect enables users to establish a more meaningful connection with the synthesized speech. - Emotional Impact: The emotional response evoked by synthesized speech greatly influences its perceived naturalness and usability. Elements like intonation patterns, rhythm, and emphasis contribute significantly to conveying emotions accurately. - Contextual Adaptation: Adapting the synthesis process based on contextual cues enriches the overall user experience. Incorporating information about sentence structure or punctuation can improve prosody and create more coherent and understandable speech. - Multimodal Interaction: Combining visual elements with synthesized speech amplifies communicative impact. Integration with facial expressions or gestures can enhance expressiveness and aid in conveying non-verbal cues effectively. |Factors Influencing Customization||Importance| In summary, customization empowers users to tailor synthesized speech according to their individual preferences and requirements. By adjusting voice characteristics, considering emotional impact, adapting to the context, and incorporating multimodal interaction, TTS systems can provide a more engaging and inclusive experience for users of diverse backgrounds. As we explore the realm of customization in TTS further, our next section delves into manipulating prosody – an essential aspect that significantly influences the naturalness and expressiveness of synthesized speech. Manipulating Prosody in TTS Building upon the capabilities of text-to-speech (TTS) synthesis, customization offers users the opportunity to tailor the generated output according to their specific preferences. By allowing adjustments in voice characteristics such as pitch, speed, and emotionality, customization enables a more personalized and engaging auditory experience. One notable example illustrating the benefits of customization is its application in assistive technology for individuals with visual impairments. Through TTS systems that offer customization options, visually impaired users can select voices that best suit their listening preferences. For instance, some may prefer a slower speech rate or a lower-pitched voice for clarity and ease of comprehension. This level of personalization enhances accessibility by accommodating individual needs and preferences. - Increased user satisfaction: Customizable features empower users to create an output that aligns with their aesthetic preferences, leading to enhanced overall satisfaction. - Improved engagement: Tailoring certain aspects of the synthesized speech can help capture and maintain listeners’ attention by making it feel more relatable and natural. - Enhanced user experience: Personalized TTS output has been found to reduce listener fatigue and increase perceived quality compared to generic synthetic voices. - Real-world applications: Customization plays a crucial role in areas like audiobook production, language learning platforms, interactive virtual assistants, and more. The benefits mentioned above highlight how customization not only improves user experience but also opens up new possibilities for various domains relying on TTS technology. To delve deeper into manipulating prosody as another aspect of customizing TTS output, let us explore its significance in creating expressive and nuanced synthesized speech. Fine-tuning Speech Rate in TTS Transitioning from the previous section on manipulating prosody in Text-to-Speech (TTS) systems, we now delve into how these manipulations can contribute to enhanced naturalness. To illustrate this point, let us consider a hypothetical scenario where an individual is using a TTS system to communicate important information over the phone. One of the key aspects that researchers have focused on when exploring prosodic manipulation is pitch variation. By adjusting the pitch contour of synthesized speech, it becomes possible to convey different emotions or attitudes within spoken sentences. For instance, in our hypothetical scenario, by slightly raising the pitch at the end of a sentence, our speaker could indicate enthusiasm or optimism while delivering positive news. On the other hand, lowering the pitch contour might be used to portray seriousness or sadness when discussing more somber topics. To further enhance expressiveness and engagement in synthesized speech, there are several techniques employed: - Duration modification: Altering the length of phonemes and pauses allows for greater control over rhythm and pacing in synthetic speech. - Intensity modulation: Adjusting loudness levels adds emphasis and conveys certain moods or intentions effectively. - Timbre manipulation: Modifying voice quality characteristics such as breathiness or roughness contributes to conveying specific emotional states. - Articulation rate adjustment: Controlling speaking speed influences perceived energy level and enables better alignment with intended meaning. By skillfully applying these techniques, TTS systems strive towards generating voices that not only sound human-like but also exhibit appropriate emotional nuances. Table below provides a summary of these methods along with their corresponding effects on synthesized speech: |Pitch variation||Convey emotions/attitudes| |Duration modification||Control rhythm/pacing| |Intensity modulation||Add emphasis/mood| |Timbre manipulation||Portray specific emotions| Through the careful manipulation of prosody in TTS systems, researchers aim to create synthetic voices that can engage listeners on a deeper emotional level. The ability to imbue synthesized speech with appropriate prosodic features enhances its naturalness and makes it more relatable to human communication patterns. In our exploration of emotion-based customization in TTS, we will further delve into how these techniques contribute to creating personalized and emotionally expressive voices. Transitioning seamlessly from this section, let us now discuss “Emotion-based Customization in TTS.” Emotion-based Customization in TTS In the previous section, we explored the concept of fine-tuning speech rate in Text-to-Speech (TTS) synthesis. Now, let us delve into another intriguing aspect of TTS technology: emotion-based customization. Imagine a scenario where a user wants to generate a synthesized voice that conveys different emotions for various applications. For instance, consider an audiobook reader application that aims to create engaging and immersive experiences for its users. By customizing the synthesized voice based on specific emotional cues within the text, such as excitement or sadness, it can enhance the overall listening experience. To achieve emotion-based customization in TTS, several factors need to be considered: - Emotional Analysis: Emotion detection algorithms are used to analyze input text and identify relevant emotional cues embedded within it. - Voice Modification Techniques: Various techniques are employed to modify the synthesized voice’s prosody and intonation patterns in accordance with the desired emotion. - Training Data Collection: A diverse dataset containing examples of emotionally expressive speech is collected to train TTS models capable of generating customized voices. - User Feedback Loop: Continuous feedback from users helps refine existing emotion-based customization models and improve future iterations. Emotion-Based Customization Techniques |Emotion||Prosodic Features||Intonation Patterns||Vocal Characteristics| |Joy||Increased pitch||Faster tempo||Bright and energetic| |Sadness||Decreased pitch||Slower tempo||Dull and subdued| |Anger||Elevated volume||Aggressive rhythm||Forceful and intense| |Surprise||Sudden pitch variations||Abrupt changes||Startling and dynamic| By incorporating these techniques into TTS systems, developers can provide users with personalized audio experiences tailored to their desired emotional context. Moving forward, let us now explore another crucial aspect of TTS technology: support for multiple languages. Support for Multiple Languages in TTS Emotional cues play a crucial role in human communication and can greatly enhance the effectiveness of text-to-speech (TTS) systems. By incorporating emotion-based customization techniques, TTS technology has the potential to deliver more engaging and persuasive synthesized speech that resonates with listeners on an emotional level. For instance, imagine a scenario where an individual is using a TTS system to listen to a news article about a recent natural disaster. By infusing the synthesized speech with appropriate emotions such as empathy or concern, the TTS system can convey not only the factual information but also evoke an emotional response from the listener, enhancing their overall engagement and understanding. To achieve emotion-based customization in TTS, various strategies have been employed. These include: - Prosodic modification: Altering aspects of speech such as pitch, rhythm, and intensity to reflect specific emotional states. - Speech style adaptation: Adapting speaking styles according to different emotional contexts. - Emotional annotation: Assigning emotional labels or tags to textual content, which are then used by the TTS system to generate emotionally expressive speech. - User feedback integration: Allowing users to provide real-time feedback on the perceived emotional quality of synthesized speech so that adjustments can be made accordingly. In addition to emotion-based customization, supporting multiple languages in TTS systems is essential for facilitating global accessibility and usability. A wide range of languages spoken worldwide poses significant challenges due to linguistic variations in phonetics, prosody, and grammar. However, advancements in language processing techniques have enabled TTS systems to cater to diverse linguistic needs across different cultures. To ensure accurate multilingual synthesis capabilities, researchers have developed sophisticated methods such as: |Language Modeling||Speaker Adaptation||Phonetic Transcription||Data Augmentation| |Statistical models capable of capturing language-specific patterns||Techniques that adapt synthetic voices based on speaker characteristics||Mapping between phonetic representations of languages to produce accurate pronunciation||Incorporating additional data from different sources or dialects for improved synthesis| By addressing the challenges associated with multilingual TTS, these advancements have paved the way for a more inclusive and versatile technology that can benefit individuals across various linguistic backgrounds. Incorporating emotion-based customization techniques allows TTS systems to evoke emotional responses from listeners, enhancing engagement and understanding. Moreover, supporting multiple languages in TTS facilitates global accessibility by catering to diverse linguistic needs. These advancements in the field of speech technology contribute to an ever-improving user experience and hold great potential for future development and innovation.

<urn:uuid:a1554a4f-2472-4e8c-a672-1a7e3db84d62>

CC-MAIN-2023-40

https://icassp2005.org/texttospeech-synthesis/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510214.81/warc/CC-MAIN-20230926143354-20230926173354-00785.warc.gz

en

Cooperative Games for Kids Everyone likes to win at games, especially young children who might have not yet learned to take minor losses in stride. Of course, when it comes to most games, victory and defeat are twin sides of the same coin, which can create thorny situations for teachers and parents. Fortunately, there’s an increasing number of easy and diverting solutions to this conundrum: cooperative games. In these games, the players work together as a group to achieve a common goal, rather than playing against each other. While victory is still not guaranteed, a cooperative game will ensure that each participant can have a great time from beginning to end. As a bonus, it’s never too early to teach children about the importance of teamwork, and games provide a fun backdrop to the lesson. Some of these games can even double as trust-building activities for adults in the workplace. In addition, participation in these games may even help antisocial or aggressive children become more calm and relaxed in a school setting. To help you get started, here’s a list of popular cooperative games that are both fun and simple to learn. All of them are suitable for grade-school aged children (some younger than others). Cooperative Games for PE 1. Smaug’s Jewels This game (based on J.R.R. Tolkien’s The Hobbit) invites players to steal the “dragon’s” jewels and make it back to their base without being captured. First, use cones or other stationary markers to create a circle, and place one player at each marker. Place a Nerf football (or any soft object) in the center of the circle. Choose one player to serve as “Smaug” (the dragon), and assign a number to each remaining player to divide them into teams (1, 2, or 3). To begin play, call a team’s number. This team will have to work together in an attempt to take “Smaug’s Jewel” and return safely to their base. If Smaug manages to tag any of the players before they get back to their base, that team’s turn ends. When a team manages to steal the jewel, it’s time to select a different player to act as Smaug. If you’re looking for cooperative games for PE for students in the lower grades (K-2), this is a suitable option. First, split students into teams of 4 (or 6, depending on the size of the class and the number of playing surfaces you have on hand). Give each team a playing surface (old sheets and tablecloths are preferred). Have each team lay out their playing surface on the floor. When you’re ready to begin play, blow a whistle or clap your hands to alert all players to stand on their team’s playing surface. The area beyond the boundaries of the sheet are off-limits. Once every player is on the sheet, have them move off and fold the sheet in half, repeating this process until the sheet is too small for the entire team to stand on. 3. Space Race The objective of this game is to collect enough “fuel sources” (bean bags) and return them to the “tanks” (small hoops or poly spots) without touching the area outside the “spaceships” (hula hoops). Divide players up into teams of four to six, depending on group size. Scatter a total of five bean bags for each team across the playing surface. Assign each team a “home base” with five fuel tanks apiece. Players can begin in either the center of the playing surface, or at their team’s home base. To move across the playing surface, players must formulate a path using the hula hoops (three per team works well), gathering all team members within these safe spaces. A hoop can be moved only when there are no players currently inside it. Once the fuel sources have been collected, they must be placed on the tanks. Tossing the bean bags is not allowed – the players must physically return to their home base. Note that players should be comfortable doing a forward roll before attempting this activity. If you like, divide players into two teams (it’s fine to keep them in a single line instead). Line up each team, single file, and have each player pass their right hand through their own legs before reaching out their left hands to take the right hand of the person in front of them. The player in front will still have a free left hand, while the rear player has a free right hand. Once this is done, have the first player perform a forward roll, without relinquishing the next player’s hand. Once this player has completed his or her roll, have them sit cross-legged as the line works together to move forward. Each subsequent player will repeat the forward roll, also sitting cross-legged when finished. The goal is to move through the entire line without breaking the chain. 5. Rope Circle Divide players into groups of two. Have one partner tie a jump rope loosely around their own wrists (one end on the right wrist, one on the left). Next, have the second partner tie a second jump rope around their own left wrist, then thread the other end of rope through their partner’s “circle.” Finally, the free end should be tied to the second player’s right wrist. The players should then attempt to separate from one another without untying the ropes or freeing themselves from their own circles. It’s up to the supervisor to make sure that the ropes aren’t being tied too tightly. 6. Ball Builders Divide players into groups of two or three. Assign one player on each team to be the holder, and the rest to be the builders. The objective is to see how many tennis balls the holder can hold on to at one time, without using their pockets or any other article of clothing. Additionally, the balls cannot be touching anything aside from each other and the holder, and must be held for at least 10 seconds. Players are welcome to switch roles after a few attempts. 7. Crossing the River This game can be played with groups of two to five participants, depending on age group. The smaller the group, the more challenging the game becomes.The objective is to move your entire group across the “river,” or playing surface (this can be as wide as you like, but 20-30 feet is standard). To do this, players should line up beside each other, their feet touching their closest neighbors’. In order to cross, they must move as a group without breaking this contact. If a player’s feet loses contact with any other player’s, the entire team has to return to the starting line. Divide players into teams of eight to 10 students apiece, and assign a large hoop to each team. This hoop will act as their “spaceship.” Blow a whistle to signify the beginning of play, at which time the players will begin racing with their ship toward the finish line. Note that all team members must be touching the ship at all times during this portion of play.When you call out “Shipwrecked,” the players all must set their ship down and attempt to get within the circle. The first team to get every player on board earns one point, and the first team to cross the finish line earns two points. The team with the most points is the winner of that particular “voyage.” To play this game, divide players into teams of six, and have each team form a circle. Instruct players to hold hands with two others (they can’t hold both hands of the same player), making sure that no one’s hands are joined with their closest neighbors’. Once this is done, blow a whistle to signal that it’s time for the “knot” to begin unraveling. All hands must remain joined until the team is standing in a circle, or in two intertwined circles. This is a fun way for students to let out pent-up energy on a rainy day.Invite players to scatter across the playing area (the gymnasium is the preferred venue). Next, toss out as many balls (or balloons) as there are players. The participants will then attempt to keep the balls (known here as “rabid nuggets”) in constant movement. Instructors should stand at either end of the gym to keep an eye out for “hectics,” or balls that stop moving. Once you’ve spotted one, yell out “HECTIC!” and point to the offending object. Players are then given a set period of time (say, five seconds) to get the hectic moving again. Once five hectics have been spotted, the “frenzy” is over. Time each frenzy to see how long the players are able to make one last. To keep things more interesting, toss another rabid nugget into the fray every 10 seconds or so. 11. Group Juggle Even students who aren’t skilled at juggling on their own can be successful at this cooperative activity. To begin, split the class into teams of at least 5 (try to stick with odd-numbered teams). Have all players form a circle, facing one another. One player should then be given a ball, which he will throw to any team member who isn’t standing directly to his right or left. The next player repeats this step, and so on and so forth, until the ball returns to the starting player. Once this happens, have the players attempt to pass the ball in the same sequence as before. Once a rhythm has been established, continue by adding more balls to the circle. 12. Birds of a Feather In advance, make up a series of index cards printed with the names of various animals (two for each animal you choose). Be sure that each creature has a distinctive sound that children will likely be familiar with. To play, have each student draw a card from the pile. Turn them loose in a safe playing field, encouraging them to keep their eyes closed during play. Have them imitate their designated animal, repeating the sounds until they locate the student who shares the same animal. Once this happens, the pair is welcome to open their eyes. The game is over when all of the pairs have been matched up. 13. Amoeba Advance This game requires splitting the class up into two equal teams. Once you’ve done that, invite half the team to form a circle by joining their elbows, and have the rest of the team wedge themselves inside the circle. When both teams have formed their makeshift amoebas, blow a whistle to signify the start of play. The teams will then attempt to make it to the finish line without breaking up the group. If the amoeba should dissolve during the attempt, the team must repair itself before it can move forward. 14. Magnificent Marbles In advance, designate a large circle to serve as the giant marble ring. Place three or four partially deflated beach balls and an equal number of smaller targets (like multicolored poly spots) within the playing circle. To begin play, have ready a supply of bean bags. Invite participants to stand outside the circle and use the bean bags to nudge the balls as close to the smaller target areas as possible. Players are not permitted inside the playing circle; if a bean bag gets stuck inside, they may attempt to retrieve it only by throwing another bean bag in to try and knock it out. 15. Dry Marco Polo This activity is a good one to use as an icebreaker on the first day of gym class. It bears a resemblance to Birds of a Feather, only students are given a larger role in the setup.Divide students into pairs. Each group must then choose either a compound word or a group of words that work together in some way (i.e., “suit” and “case” or “cheese” and “whiz”). The relationship between the two words doesn’t really matter, as long as both partners agree on which ones to use. One player should be assigned one word, with their partner taking on the other. Invite each team to share their chosen words with the rest of the class. Not only does this provide the group with a fun sharing activity, it will help to ensure that each word pairing is unique. Next, have the students scatter to various areas within a safe playing field. Ask them to close their eyes (or use blindfolds if necessary). Blow a whistle to signify the start of play, at which time the players should begin calling out their assigned words. Once the partners have found one another, they’re invited to open their eyes (or remove their blindfolds) and watch the rest of the group. Cooperative Board Games for Kids The object of this game, in which the players are represented by a group of mice, is to “finish” all the food in the pantry before the hungry cat breaks up the party. There are three six-sided dice, all printed with five different types of food and one X; and a playing surface, featuring the same food images and, of course, the cat. On a single player’s turn, he or she will roll all three dice. If all three are X’s, the cat moves one step closer to the pantry, and the player’s turn is over. If the dice turn up any food images, the player must place at least one die on the corresponding food square located on the board. They may then choose to re-roll the remaining dice in an attempt to “finish” the chosen food. If they are unable to do so on their subsequent roll, the player’s turn ends with the cat moving one step closer. The player is permitted to go on rolling the dice for as long as he or she is able to place at least one die on the board. If the cat reaches the pantry while there’s still unfinished food on the board, the game has been lost. If, however, the team manages to finish all the food, then they’ve won. The reverse side of the playing surface offers a more challenging version of the same principle. 17. Stack Up! As cooperative board games go, this one is as simple as it gets. During play, players take turns spinning a color-coded dial and stacking blocks of the corresponding color. The objective is to stack twelve blocks without landing on the “Stack Smasher” when the dial is spun. The dial also contains challenges to make the game more interesting – for example, players might have to stack while singing “Happy Birthday.” There are three levels of difficulty, so if the game becomes too dull for young players, they’re welcome to ramp it up. 18. Race to the Treasure Like Candy Land, Race to the Treasure requires no reading, and the rules are easy enough for toddlers to follow. Players take turns drawing tiles from a sack, indicating either a section of a path or a picture of the dreaded Ogre who guards the treasure. The objective is to make a path to the three keys that will unlock the treasure, before forging a path to the final goal: the treasure itself. Meanwhile, each Ogre tile will move him closer to the prize. If he gets there first, the team loses. If they reach the treasure before the Ogre does, they win. 19. Hoot Owl Hoot! The concept between Hoot Owl Hoot! is that it’s nighttime, and all the owls are out on the hunt. The objective is to get them all safely back to the nest before sunrise.To begin, a token representing the sun is placed on its corresponding track, while three owls are placed on a track of their own. Each player then receives three cards, which will be placed face up in front of them. The deck includes 50 cards, 36 of which represent colors, and 14 of which represent the sun. When a player receives a sun card, they must use it to move the sun token forward one space on the board, after which they discard the sun card. If a player has all color cards on their turn, they must discard one and move one of the owls to the first available open space in the corresponding color. If one of the owls surpasses another owl on the board, the players all make a hooting sound to cheer it on. If all of the owls have made it back to the nest before the sun completes its track, then the team wins! To make the game more challenging, add more owls to the board at the start of play (the game includes six owls total). The concept behind this popular game is compelling, if somewhat frightening to children under the age of eight: Your team is tasked with fighting a series of dangerous viruses that are spreading across the world. Players must travel to different areas of the globe to offer treatment to those infected, and also to build research stations in the attempt to find cures for the various diseases. Two decks of cards (one benign, one “Epidemic!”) control the courses of the viruses, and participants must work together to coordinate a successful plan. 21. Feed the Woozle Instead of working against a common enemy, participants in this lighthearted adventure are trying to keep the mythical “Woozle” fed so he won’t go hungry. Players are invited to feed the Woozle the number of snacks that appears on the die during their turn. To make play more challenging, they’re also tasked with making sure the snacks remain on the spoon during transfer (he won’t eat them otherwise, and they won’t count towards the total). Once he’s been fed, the player takes a “yummy card” from the stack to indicate how many treats he’s gotten so far. The next player then repeats the process, until all the snacks are gone. If the Woozle has gotten 12, then the team wins; if not, the beast remains hungry until the next round of play. 22. Ghost Fightin’ Treasure Hunters This game is similar to Race to the Treasure!, but the setup is slightly different. Participants join forces in an attempt to recover treasure from a haunted house before the place becomes overrun by ghouls. Along the way, they have to evade these same ghouls through a combination of wit, teamwork, and skill. 23. Flashpoint Fire Rescue In Flashpoint Fire Rescue, players are trying to save a city from the threat of a spreading fire. The team is outfitted with basic equipment, and tasked with rescuing a number of civilians from the burning buildings. As the fire spreads, pathways to the victims may become blocked, making the task that much more difficult. There are two skill levels for Flashpoint Fire Rescue: basic and advanced. When playing with very young children, you might want to tone down the intensity of the threat, even though it’s make-believe to begin with. For example, if you fail to save the building, you can explain that a rival team managed to save the people inside instead. 24. Harvest Time This one is geared toward very young children—even preschoolers can get in on the fun. The playing surface is a basic board, depicting a farmhouse surrounded by acres of crops, along with various homegrown vegetables The object is to gather the entire harvest before winter sets in and destroys the crops. Families who live in rural areas may appreciate this one the most, as it teaches valuable life skills that are bound to come in handy later. 25. Granny’s House Another game aimed at the preschool set, this one inviting the tykes to set out on an adventure to Granny’s House while encountering a number of troublesome obstacles along the way. The board is reminiscent of old favorites like Candy Land and Chutes and Ladders, with its depictions of varicolored symbols that make up the path to the titular destination. Play is picture-based, so reading comprehension isn’t a necessary prerequisite. 26. Stone Soup This cheerily designed game is similar to Memory in nature, as players have to locate matching cards in order to add a variety of ingredients to the soup pot. Unlike the traditional rules of Memory, however, the players aren’t trying to amass the greatest number of pairs, but to keep the soup cooking for as long as the fire keeps burning. If the designated number of ingredients hasn’t been added by the time the fire goes out under the kettle, the game is over and the family goes hungry. 27. Mermaid Island In this fantastical, nautical outing, players try to get the mermaids back to their home base before the evil Sea Witch can swoop in to destroy them. Oftentimes, a single move might endanger the others, so participants must remain aware if they want to get the whole group (fleet?) home safely. Obviously, this is an appealing option for the girls in the group, but there’s no reason why boys shouldn’t enjoy it too. 28. The Secret Door Sleuths-in-training will want to play this game again and again, as participants attempt to locate a number of valuable objects within a deserted mansion. To do this, they’ll take turns flipping cards from a deck to look for two that match – but if they turn over twelve clock cards before they locate all the treasures, the game is over. Should they find all of the hidden objects, they’re then invited to figure out which three cards were hidden from the deck at the start of play. 29. Lion In My Way In addition to providing youngsters with a cooperative activity, Lion In My Way often inspires creative storytelling as well. The object is to get from one end of the board to the other, all while encountering the likes of hungry lions, barren deserts, and a number of other increasingly peculiar obstacles. A set of tool cards aids players in their efforts to defeat these roadblocks. This foxy outing serves as a good forerunner to Clue, or any other detective-themed game. The story goes that a mysterious thief has made off with Mrs. Plumpert’s pie. Players must follow clues to determine which of the sly foxes is the culprit before he can make it safely to the other side of the board. To play, participants may choose whether to either search for clues or reveal possible suspects on their respective turns. Should the player be unsuccessful in turning up their desired action when they roll the dice, the fox moves ahead three spaces on the board. If they succeed in winning the opportunity to take action, they’ll either use the suspect cards to gather new information, or move their own playing piece across the board to search for clues. As play progresses, the players will be able to narrow down the list of suspects, based on the information they’ve gathered. If the fox token makes it all the way to the end of the board and the players haven’t named a suspect, the game is over and the detectives lose. Likewise if the players accuse a suspect who turns out to be innocent. However, if the correct culprit is named, the detectives win. For more information on the rules of Outfoxed! and other board games like it, check out the Board Game Geek website. Cooperative Games for the Classroom 31. Balloon Bop Remember playing a game of catch and trying to see how many passes you could make without allowing the ball to hit the ground? This game has a similar objective, but it utilizes a balloon (or multiple balloons) and a larger group of people. To begin the teacher should invite children to form a loose circle by holding hands. Continue by dropping a balloon (not helium-filled) into the middle of the circle, and ask students to count how many times they can “bop” it back into the air without breaking the circle. To do this, the students may use any part of their body except for their feet (knees are acceptable). The game is over when the balloon touches the floor or a student’s foot, or if any student lets go of their neighbor’s hand. This game is better suited to children at the upper grade-school level (say, third grade and up). To make it more challenging, add a second or third balloon. This is a fun, interactive classroom game that takes the concepts of loss and victory right out of the equation. Instead, students are seated in a circle, and each one is handed a simple photograph. The images don’t really matter, but try to keep them as basic as possible. To play, invite one of the students to begin telling a story, based on the image that he or she is holding. After one minute, say “freeze” and move on to the next student, who will then continue the story based on his or her own photograph, and so on. The greatest challenges will lie with the first student, who’ll need to create a solid introduction; and the last one, who’s responsible for the conclusion. 33. Humpty Dumpty Older grade school students are the best participants for this activity, which should only be attempted in an uncarpeted area. To begin, divide students into groups of four or five. Supply each team with a raw egg, and task them with creating a situation in which the egg will not break when dropped from a certain height (say, six feet). Teams are then free to make use of whatever objects in the classroom might be helpful in achieving their goal. After a set time period, ask the teams to demonstrate their work. Earlier versions of this game supplied each team with a box of plastic straws, with which they would then build a cushioning device. However, as single-use plastics fall further out of favor, it’s better to encourage students to work with the items they have on hand. 34. Balancing the Hula Hoop The object of this game sounds straightforward: Teams of four or five work together to lower a hula hoop from about nose-height to the floor, using only the very tips of their fingers. As your students will come to learn, however, it’s much more difficult than it looks. 35. Hula Hoop Hustle If you still have those hula hoops and the students are bored with the balancing game, consolidate them into larger groups of about 10. Have each team form a circle by holding hands, with a single hula hoop in between two of them. Challenge them to move the hula hoop in a complete revolution without breaking the circle. They may do this by maneuvering the hoop over their heads, under their feet, or by whatever means they can come up with, as long as they don’t let go of one another’s hands. 36. Eye Contact Eye Contact provides an excellent way to foster nonverbal communication skills.To play, choose 10 students for the first round (the others can watch in the meantime). Choose a single student to act as “Player One,” and designate a “Go” signal (such as winking or making an “O” shape with your mouth). Player One should then attempt to make eye contact with another participant. When they’ve succeeded, they should give the “go” signal, at which time the second player takes Player One’s place in the circle to repeat the same process with another participant. No verbal communication or hand signals are allowed during play. If a player breaks this rule, he or she is disqualified, and their place is taken by one of the observers. Once everyone in the round has made eye contact and give up their place in the circle, switch teams until all the observers have had a chance to play as well. Cooperative Card Games In this game (recommended for older children, ages 10 and up), players are tasked with repairing a damaged spacecraft while dodging asteroids and wormholes along the way. To ramp up the challenge, they also must reveal six “System-Go” cards inside the time limit, or all of their work has been for nothing. Hanabi can be played with as few as two participants, but it gets more interesting when more players are added (up to five). The unique concept invites participants to orchestrate a fireworks show, utilizing a series of numbered cards. If the display is finished before the pile of cards runs out, the team wins. Play is fairly fast-paced—a single game can be played in about half an hour – and is suitable for ages eight and up. The playing kit also includes a “rainbow” set of cards to make things more challenging, once your team has mastered the basic game. This is a two-player cooperative card game, and one of the few to utilize a standard deck of playing cards. A cross between Uno and Rummy, the rules are not difficult to follow, but they are somewhat lengthy to explain – a complete breakdown can be found here. Essentially, both players (one following the rules of Rummy, the other playing a solo game of Uno) must achieve the goals of their respective games before the “Circle of Shamus” (a ring consisting of 10 cards) has been depleted. It’s addictive, and a good choice for families with smaller households. 40. 5-Minute Marvel For superhero fans, this game is a must-try. Each player assumes the role of a different superhero as a five-minute timer is set. During play, the cards keep turning up new threats in the form of increasingly powerful bad guys. The objective is to work together to defeat all the villains before the time is up. This cooperative card game is like a fancier take on Go Fish, except the players are working together (“in cahoots”). In order to win the round, the team has to match all of their cards by either color or number before the time clock runs out. Play is fast-paced and easy to follow, even for younger participants. 42. 15 Seconds This game requires to have a timer on hand and just think of as many interesting questions as you can. Divide the group into two groups, and have the leader ask them a question. After he asks the timer starts so the teams have 15 seconds to try and get the question right. This is a great game to help build cooperation between kids.

<urn:uuid:85338710-0742-43f0-afee-17671dd22ffc>

CC-MAIN-2023-40

https://kidactivities.net/41-fun-cooperative-games-for-kids/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506429.78/warc/CC-MAIN-20230922234442-20230923024442-00187.warc.gz

en

Have you ever come across the terms ‘midrash’ and ‘aggadah’ while reading the Talmud, but don’t know what they mean? Don’t worry, you’re not alone. At first glance, these two words may seem interchangeable, but in reality, they are quite distinct from one another. Understanding the difference between midrash and aggadah is essential to fully comprehend the meaning of Jewish texts, and is an important aspect of Jewish scholarship. Midrash and aggadah are both methods of interpreting and explaining Jewish texts, but differ in their approaches. Midrash focuses on providing a legal explanation of scripture, while aggadah delves into more philosophical and ethical themes. Midrash is more concerned with finding legal solutions, while aggadah is primarily focused on finding deeper meanings and connecting texts with personal experiences and emotions. One of the most significant differences between midrash and aggadah is their style of writing. Midrash is defined by its concise language and is often presented in the form of a discussion or debate among scholars. In contrast, aggadah is known for its more poetic language and narrative style, often presenting life lessons through stories and parables. These distinctions make it easy for scholars to distinguish between the two methods of interpreting Jewish texts, and gain a deeper understanding of their meanings. Definition of Midrash and Aggadah Midrash and Aggadah are two types of Jewish literature that can be found in the Talmud and other Jewish texts. While they may seem similar at first glance, there are distinct differences between the two. Midrash can be defined as a commentary on the Hebrew Bible. It is a way for Jewish scholars and rabbis to interpret the text and apply its teachings to everyday life. Midrashic texts can take many forms, including stories, allegories, and legalistic discussions. Aggadah, on the other hand, is a type of Jewish literature that is concerned with non-legalistic discussions. It often includes stories, legends, and ethical teachings, and serves to provide a broader context to the Jewish faith and beliefs. Differences Between Midrash and Aggadah - Legal vs. Non-Legal Discussions: One of the primary differences between Midrash and Aggadah is the type of discussion they contain. Midrash is focused on legalistic discussions of the Hebrew Bible, while Aggadah is more concerned with broader ethical and moral concepts. - Interpretation vs. Context: Midrash focuses on interpreting the Hebrew Bible, while Aggadah provides context for the teachings of the Jewish faith. Midrash is more concerned with the specific meaning of the text, while Aggadah is concerned with how the teachings of the text can be applied to everyday life. - Form: Midrash can take many forms, including stories, allegories, and legalistic discussions. Aggadah, on the other hand, is often presented in the form of stories, legends, and ethical teachings. Importance of Midrash and Aggadah Both Midrash and Aggadah are important elements of Jewish literature and provide different perspectives on the Jewish faith. Midrash helps to provide a deeper understanding of the Hebrew Bible and its teachings, while Aggadah provides a broader context for the Jewish faith and beliefs. Together, these two forms of literature help to provide a comprehensive understanding of the Jewish faith and its teachings. Examples of Midrash and Aggadah Here is an example of Midrash and Aggadah in Jewish literature: |Midrash Example||Aggadah Example| |A Midrashic interpretation of the story of Adam and Eve in which each of the animals tries to convince Adam to mate with them instead of Eve.||The story of Rabbi Akiva, who continued to study the Torah until his last breath despite being tortured to death by the Romans. This story provides a powerful example of the dedication and commitment that is expected of Jewish scholars and leaders.| These examples demonstrate the different ways in which Midrash and Aggadah can manifest in Jewish literature and provide important insights into the Jewish faith and beliefs. Origin and History of Midrash and Aggadah Midrash and Aggadah are two essential hermeneutical systems in Jewish literature. They both interpret and provide a narrative understanding of the Hebrew Bible, but they do so in different ways. - Midrash: The word Midrash comes from the Hebrew root darash, meaning “to seek out.” Midrashic interpretations are a collection of homiletic stories, parables, and commentaries that provide an interpretation of the biblical text. The Midrashim were passed down orally from the early rabbinic period until the Middle Ages when they were written down. There are two types of Midrashim: Halakhic Midrashim and Haggadic Midrashim. The Halakhic Midrashim focus on Jewish law, while the Haggadic Midrashim focus on narrative and teaching stories. - Aggadah: Aggadah is a collection of Jewish rabbinical homilies and stories that are intended to provide moral, ethical, and philosophical lessons. Aggadah is derived from the Hebrew word hagad, meaning “to declare.” Aggadah aims to give clarity and deeper understanding of the biblical text. The Aggadic narratives were created by sages of the Talmudic and later periods. These narratives are aimed at revealing the intentions of God and exploring Jewish values and ethics. The origins of the Midrash can be traced back to the Second Temple period, during which there was a genocidal crisis, and the Jewish people faced the challenge to explain their situation and harmonize their hope for redemption, the precepts of the Torah, and the destiny of their people. The Midrash was used to teach these values to younger generations and help the Jews maintain hope through turmoil. Aggadah developed alongside Midrash in the early rabbinic period. Aggadah was introduced as a way to deal with abstract concepts and ideas that could not be addressed through laws, which is where Midrash focused. Aggadah helps bring meaning to biblical narratives and provide guidance on ethical and moral behavior. |Offers a legal perspective||Offers a philosophical perspective| |Focuses on Jewish law interpretation by providing an intellectual, literary interpretation of the Hebrew Bible||Focuses on moral, ethical, and theological teaching| |Halakhic (Legal) Midrashim||Aggadati (Narrative) Midrashim| |Deals with legal matters such as the laws of the Sabbath, holy days, ritual purity and impurity||Deals with religious, ethical, mystical, and philosophical concerns| Midrash and Aggadah are inseparable elements of Jewish literature. They complement each other by providing practical and moral teachings of Jewish life and provide further meaning and clarification of the Hebrew Bible. Understanding the origin and history of these hermeneutical systems is an essential part of Jewish scholarship. Interpretation of Biblical Texts in Midrash and Aggadah One of the main purposes of midrash and aggadah is to provide explanations and interpretations of biblical texts. However, the approach and style of interpretation can differ between the two. In midrash, the focus is on finding meaning and significance in the text beyond the literal meaning. Midrashic interpretations often utilize wordplay, allegory, and metaphor to uncover hidden messages and deeper truths. Aggadah, on the other hand, is more concerned with ethical and moral teachings that can be extrapolated from the biblical text. Aggadic interpretations may use stories and parables to emphasize these teachings in a relatable way. - Midrash focuses on uncovering hidden meaning beyond the literal text. - Aggadah focuses on extracting ethical and moral teachings from the text. - Midrash uses wordplay, allegory, and metaphor to interpret the text. - Aggadah often uses stories and parables to convey its lessons. For example, in the story of Cain and Abel in Genesis, midrashic interpretations may focus on the symbolism of the offerings of fruits and animals, or the significance of the mark of Cain. Aggadic interpretations, on the other hand, may emphasize the importance of repentance and the consequences of anger and jealousy, using the story as a cautionary tale for ethical behavior. Overall, both midrash and aggadah offer rich and nuanced interpretations of biblical text, providing insight and guidance for those seeking to understand and apply its teachings. |Focus on hidden meanings beyond the literal text||Focus on moral and ethical teachings| |Uses wordplay, allegory, and metaphor as interpretive tools||Often uses stories and parables to convey its teachings| |Uncovering deeper truths and messages||Applying the lessons of the text to everyday life| Regardless of their differences, both midrash and aggadah are important and valuable modes of interpretation for studying the biblical text. Common Themes in Midrash and Aggadah Midrash and Aggadah are two Jewish literary forms that share many common themes. These themes reflect the values and beliefs of Judaism and are often used to teach moral lessons and provide historical context. Some of the most common themes in Midrash and Aggadah include: - God’s Role in Creation and History - The Power of Prayer - The Importance of Torah Study - The Value of Good Deeds Let’s take a closer look at each of these themes: God’s Role in Creation and History In Midrash and Aggadah, God is often portrayed as the Creator of the universe and the guiding force behind history. These texts emphasize the power and sovereignty of God, as well as the importance of human beings in the divine plan. The Power of Prayer Prayer is a central theme in both Midrash and Aggadah. These texts often emphasize the importance of daily prayer, as well as the belief that prayer can have a powerful impact on the world and on individual lives. The Importance of Torah Study Torah study is another common theme in Midrash and Aggadah. These texts often emphasize the importance of learning and studying the Torah, as well as the belief that the Torah contains the wisdom and guidance necessary to live a meaningful and holy life. The Value of Good Deeds Both Midrash and Aggadah stress the importance of performing good deeds and living a righteous life. These texts often describe the ways in which good deeds can lead to blessings and reward, while also warning of the consequences of sinful behavior. Overall, the common themes in Midrash and Aggadah reflect the values and beliefs of Judaism and continue to provide guidance and inspiration to readers today. |God’s Role in Creation and History||Emphasizes God’s sovereignty and power||Stresses God’s loving kindness and mercy| |The Power of Prayer||Emphasizes the importance of daily prayer||Encourages prayer as a means of cultivating a relationship with God| |The Importance of Torah Study||Emphasizes Torah as the source of divine wisdom||Stresses the importance of studying the Torah in order to live a holy life| |The Value of Good Deeds||Emphasizes the importance of living a righteous life||Encourages performing good deeds as a means of earning reward and blessings| As we can see from the table, while Midrash and Aggadah share common themes, they may emphasize those themes differently. Overall, these two forms of Jewish literature offer a rich and nuanced perspective on the beliefs and values of Judaism. Usage and Application of Midrash and Aggadah Midrash and Aggadah are two distinct genres of Jewish literature that have different functions and applications. While Midrash focuses on interpreting and analyzing biblical texts, Aggadah deals with non-halakhic narratives and ethical teachings from Jewish tradition. Here are some examples of how Midrash and Aggadah are used and applied in Jewish tradition: - Religious Education: Midrash and Aggadah are integral components of Jewish education, as they provide students with valuable insights into the sacred texts and teach important moral values and principles. - Shabbat and Holiday Readings: In many Jewish communities, Midrash and Aggadah are read aloud during Shabbat and holiday services to enhance the liturgical experience and deepen the connection between worshippers and their heritage. - Moral Guidance: Many of the stories and teachings in Aggadah provide ethical guidance and insights into human nature, helping readers to navigate complex moral issues and make wise choices. In addition to these general applications, there are also specific ways in which Midrash and Aggadah are used in the Jewish community. For example, Midrashic interpretations are sometimes used to resolve legal disputes or to clarify the meaning of obscure or ambiguous passages in the Torah. Similarly, Aggadah is often used by rabbis and spiritual leaders as a tool for counseling and guidance, as the stories and teachings can provide comfort and inspiration to those in need. To better understand the differences between Midrash and Aggadah, it may be helpful to examine a specific example of each. Here is a table comparing a Midrashic interpretation of a biblical verse and an Aggadic story: |Interpreting the verse “You shall not covet your neighbor’s wife” (Exodus 20:14), a Midrashic commentary suggests that the word for “wife” could also be interpreted as “good deeds.” Therefore, the verse could be understood to mean that one should not covet the good deeds of others.||A rabbi tells a story about a man who came to him seeking guidance on how to revive his relationship with his wife. The rabbi advises him to go to a nearby market and purchase a chicken, and then carry it around with him all day without letting it go. When he returns home, the man is instructed to slaughter the chicken and cook it for his wife, as a symbolic gesture of his commitment to their relationship.| As this example illustrates, Midrash and Aggadah serve different functions within the Jewish tradition, but both have important roles to play in Jewish education, spirituality, and ethical development. Role of Midrash and Aggadah in Jewish Tradition Midrash and Aggadah are both important elements in Jewish tradition that contribute to the interpretation and understanding of the text and the teachings of the Torah. While they are often used interchangeably, there are distinct differences between these two terms. - Definition of Midrash: Midrash is a Hebrew term that means “interpretation” or “explanation.” It is a method of interpreting Biblical texts that uses a combination of storytelling, parables, metaphors, and other literary devices to fill in gaps and provide additional meaning to the text. - Definition of Aggadah: Aggadah is also a Hebrew term that means “telling” or “narrative.” It includes a range of stories, homilies, and sermons that are designed to teach ethical and moral lessons using the stories and events in the Bible. - Role of Midrash: Midrash plays an important role in Jewish tradition by providing a way to engage with the text and to make sense of difficult or ambiguous passages. Through storytelling and metaphor, midrash seeks to uncover deeper truths and insights about the Torah and its teachings. - Role of Aggadah: Aggadah, on the other hand, serves to illuminate the ethical and moral lessons of the Torah by using engaging narratives and stories. It teaches valuable lessons on topics such as compassion, justice, and kindness, using stories and events from the Bible as examples. - Examples of Midrash: Some examples of midrash include the story of the creation of Adam and Eve, the story of Noah and the flood, and the story of Moses and the burning bush. In each of these examples, midrash helps to fill in gaps in the text and provide additional meaning and context. - Examples of Aggadah: Examples of Aggadah include the story of the golden calf, the story of Abraham and Isaac, and the story of King David and Bathsheba. These stories illustrate important ethical and moral lessons that are relevant to everyday life. In summary, while midrash and aggadah both play important roles in Jewish tradition, they differ in their approaches and their objectives. Midrash seeks to provide interpretation and meaning to the text through the use of literary devices, while Aggadah uses stories and narratives to teach ethical and moral lessons. Together, they offer a rich and complex understanding of the Torah and its teachings. Similarities and Differences between Midrash and Aggadah The study of Judaism involves thousands of years of history and an abundance of texts. Two major literary genres of Judaism are Midrash and Aggadah. While the two genres are often used interchangeably, they have distinct differences and similarities. In this article, we will explore the differences and similarities in depth. - Both Midrash and Aggadah are part of the Oral Torah, which is the body of Jewish law and tradition not written down in the Torah. - They both provide context and meaning to biblical stories and laws by filling in gaps and giving explanations. - They both serve as a source of inspiration and guidance for Jewish practice and life. While both Midrash and Aggadah share commonalities, they have significant differences as well, including: - Definition: Midrash refers to the process of interpretation and the interpretation itself, while Aggadah refers to the non-legal stories, parables, and anecdotes of the Talmud and other Jewish texts. - Content: Midrash is primarily concerned with explaining and interpreting biblical texts, whereas Aggadah includes a broader range of non-legal teachings such as ethical teachings, historical accounts, and homilies. - Structure: Midrash has a more formal structure, with a clear focus on explaining biblical text. Aggadah, on the other hand, is often more fluid and narrative-driven, focusing on storytelling and moral teachings. - Origin: Midrashim were developed in the Talmudic period, while Aggadot were developed in the later period of Rabbinic literature. - Approach: Midrash often employs a more legalistic and analytical approach, while Aggadah uses more creative and imaginative methods of interpretation. - Language: Midrashim are primarily written in Hebrew, while Aggadot are often written in Aramaic. The Number 7 in Midrash and Aggadah The number seven has great significance in Midrash and Aggadah. In Judaism, seven is a sacred number, representing completion, perfection, and holiness. Here are some examples of the use of the number seven in Jewish literature: |The seven days of creation||Symbolize the completeness and perfection of God’s work.| |The seven laws of Noah||Represent the universal laws given to all people.| |The seven blessings recited at a Jewish wedding||Symbolize the completeness and joy of the new union.| The use of the number seven in Midrash and Aggadah serves to emphasize the sacred nature of Jewish tradition and the importance of striving for completeness and perfection in all aspects of life. What is the difference between midrash and aggadah? Q: What is midrash? Midrash refers to a collection of Jewish texts that interpret and expound upon the Hebrew Bible. These texts offer more in-depth analysis and commentary on the scripture. Q: What is aggadah? Aggadah is a collection of Jewish texts that provide non-legalistic commentary on the Hebrew Bible. These texts usually focus on ethical, moral, and philosophical teachings. Q: How are midrash and aggadah different? While both midrash and aggadah are collections of Jewish texts, they differ in their purpose and content. Midrash focuses on interpretive and legalistic commentary on the scripture, whereas aggadah focuses on moral and philosophical teachings. Q: Can midrash and aggadah overlap? Yes, some texts can contain elements of both midrash and aggadah. However, they still maintain their distinct differences in content and purpose. Q: Are midrash and aggadah still relevant today? Yes, many scholars and individuals continue to study both midrash and aggadah today as a means of understanding and interpreting Jewish traditions and teachings. We hope this article has helped clarify the difference between midrash and aggadah for you. While they may seem similar at first glance, they each offer unique perspectives on Jewish scripture and tradition. Thank you for reading, and please visit again soon for more insightful content.

<urn:uuid:2ad30f71-764f-4c3f-bd3c-5ee1fff3333b>

CC-MAIN-2023-40

https://coloringfolder.com/what-is-the-difference-between-midrash-and-aggadah/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510781.66/warc/CC-MAIN-20231001041719-20231001071719-00087.warc.gz

en

Late in the 8th century AD strange ships began appearing in the bays along the coasts of Europe. Some of these ships were quite long for that era. They were strongly built of oak, and from 40 to 60 oarsmen sat on the rowers' benches. Each ship had a single mast with a square sail that was often striped in brilliant colors. Bright shields overlapped along the gunwale. The ships were pointed at each end so that they could go forward or backward without turning around. They had tall curved prows, usually carved in the shapes of dragons. These dragon ships, as they were often called, usually appeared in a bay at about dawn. As soon as the ships reached the beach, tall blond men jumped out, shouting battle cries. Armed with swords and battle-axes, they attacked the sleeping villagers. They killed many of them, captured some of the youths and maidens, and gathered all the loot that their ships could carry. Then they sailed away. These marauders, or pirates, came from Scandinavia--what is now Denmark, Norway, and Sweden. The people who lived there were Norsemen, or Northmen. Those Norsemen who took part in these swift, cruel raids along the coast were called Vikings. Their expression for this type of warfare was to "go a-viking." Vik in Norse means "harbor" or "bay." The Vikings came to be the most feared raiders of their time and were the only Norsemen with whom most Europeans came in contact. Their name was given to the era that dated from about AD 740 to about 1050--the Viking Age. The raids of the Vikings in the 9th and 10th centuries are among the best-known episodes of early medieval history. These fierce attacks from Scandinavia fell on the British Isles, the Atlantic and North Sea shoreline of the Carolingian Empire, which included most of what are now France, Germany, and the Low Countries, and to the east on what became Russia. They took a heavy toll on the fragile political development and stability of Europe, although the damage caused by the Vikings may well have been exaggerated by the main historians of the period. These historians were usually priests who looked upon the pagan Vikings with particular horror. In addition, the Church, as a wealthy and relatively defenseless target, may have suffered more heavily than many other sectors of European society. Despite the notoriety the Vikings attracted because of their ferocity, within a century or two they converted to Christianity and settled in the lands they had raided. At the same time, the Vikings were developing new outposts of settlement in Iceland, Greenland, North America, and the North Atlantic, and establishing kingdoms in Scandinavia along the lines of the European kingdoms to the south. As they became assimilated in their new lands, they became farmers and traders as well as rulers and warriors. Few written records exist of the Vikings before their conversion to Christianity. As a result, knowledge of the Germanic peoples of Scandinavia in the pre- and early-Viking period is limited. It rests on chronicles and records created by those who were frequently their enemies and victims, on archaeological and physical evidence, and on their own later literary reconstructions of their heroic past. The social structure of pre-Viking and Viking Scandinavia depended on the links of extended families and ties made by marriage. Blood feuds and diplomatic marriages were a part of upper-class life. Though slavery played a significant part in the economy, as it did in the domestic society of the great households, the basic social structure was that of small, free farmers who owed loyalty (along with taxes) to the headman or patriarch of the family, or to the regional chief or noble. Such chiefs and petty nobles differed from their followers in wealth and power, but the distinction was more of degree than of rigid social boundaries or of hereditary nobility. When the chiefs became Viking leaders, their client farmers became their sailors and, on land, their soldiers. Because of the harsh climate and the many enterprises that took men away from home for extended periods, free-born women possibly enjoyed a base of power and responsibility for family and economic affairs not matched by women elsewhere in Western Europe. In the harsh climate of Scandinavia the thinly scattered population lived by farming, fishing, and trading—mostly by sea. Viking political organization resembled that of other early Germanic peoples: a society of warrior chiefs and loyal followers. However, the Scandinavian world had never come under Roman or Christian influence, and its population was small and dispersed. As a result, these groups did not consolidate into kingdoms until around the time the Vikings began to venture on their raids in about 800. For several generations after the raids began, the bands of Danes or Vikings or Northmen, as they were known in Western Europe, arrived mostly as separate and small-scale undertakings, not as royal expeditions or large invasions. The pre-Christian religion of the Vikings was similar to that of other Germanic tribes. They worshiped a number of gods, including Odin, the god of war and leader of the Norse gods; Thor, the god of thunder; and Balder, the god of light. Viking warriors believed that if they died heroically they would be called to dwell with Odin in Valhalla, his palace in the realm of the gods. Opposing the Norse gods were a host of evil giants, led by Loki. Vikings believed that both gods and men would eventually be destroyed in the Ragnarok, a mighty battle against the giants, but that a new, peaceful world would emerge from this disaster. The basic economy of Scandinavia was agricultural. The short growing season sufficed to meet the demand for grain, for cattle and stock grazing. Because the people of this world mostly lived along the coasts, fishing played a significant part in their lives, as did sea trade. Even before the Viking raids began, the markets of Europe to the south were always interested in the raw goods of the North Sea and the Baltic. Furs, timber, amber, and slaves (mostly from Slavic regions) were primary commodities. Conquests and Settlements At first these Viking attacks were made by small bands. Later there were more men and more ships, which roamed farther and farther from their homelands. To the north and east they attacked the Lapps, Finns, and Russians. To the west they conquered and held for generations large parts of Britain and Ireland. To the south they occupied northern France. The Norsemen did not actually conquer any country south of France, but their ships sailed along the coasts of Spain and Portugal. They plundered Sicily and the northern shores of Africa and attacked Constantinople, the capital of the Eastern Roman Empire. To the west the Vikings did not stop with the British Isles but crossed the Atlantic Ocean to take Iceland away from the Irish monks who had settled there. In 874 they began to colonize Iceland, and during the years that followed, many freedom-loving people came to Iceland as settlers. In about the year 982 Eric the Red sailed westward from Iceland. He landed on the coast of Greenland and gave the island its name. Later he founded the first colony there. His son, Leif Ericson, sometimes called Leif the Lucky, is believed by most historians to have been the first explorer to reach the North American mainland. About the year 1000 he landed at a place that he called Vinland. Vinland was identified as Newfoundland in 1963 when archaeologists uncovered the remains of a Viking settlement at the extreme northern tip of the island. While the Vikings were discovering lands and waging war, they were telling each other adventure tales that later were known as sagas, from the Icelandic word for story. Poets also were singing the praises of Norse heroes and gods and describing the Norse way of life. In this way the Norsemen preserved major parts of the early history of the Scandinavian countries and of Russia, Germany, Britain, and Ireland. Why the Vikings Were Powerful The Vikings probably were descended from blue-eyed and blond invaders from the south of Scandinavia. There they found and conquered a short, dark-haired race. Long-limbed and muscular, with flaxen or red hair hanging below their shoulders, Norsemen were trained from childhood to be strong and self-reliant. Running, jumping, and wrestling took the place of reading, writing, and arithmetic. Their other subjects were skating, skiing, snowshoeing, swimming, rowing, and riding horseback. As soon as a youngster could carry a weapon, he was taught to thrust a sword, to swing a battle-ax, and to throw a spear. A part of their success was due to their religion, for the Norsemen's gods were warriors too. Thor the Thunderer made constant war against the ice and snow giants of the North. The chief god, Odin, presided over Valhalla, the warrior's heaven. Death in battle was considered the most honorable death. Only by that death could a Norseman enter Valhalla. So the Norsemen battled unafraid and joyful, calling upon their gods to help them. The Norsemen were the most skilled and daring seamen of their day. Because the compass was still unknown, they navigated by sun and star. When fog hid the stars, their ships drifted until the weather cleared. Not fearing death, they took great chances. Their experiences and discoveries were therefore many. The Norsemen dared not risk open fires aboard their wooden ships, and in those days there were no stoves. So, unless they were on a long sea voyage, they would anchor in a quiet bay each evening. Then they pitched tents on the shore, kindled fires, and cooked their food. Porridge with dried meat or fish was the usual diet. Sometimes they had bread, butter, and cheese. If they spent the night aboard ship, they unrolled their skin sleeping gear and stretched out on the rowers' benches. A successful Viking expedition might bring fortune, fame, and, perhaps, noble rank to those who took part. So by the time they were 15 or 16, Norse boys were eager to try their luck in battle. Trade Is Developed The early Viking voyages were mostly raids in which Christian churches and monasteries were robbed and burned and peaceful villages were plundered. But in later times piracy was often combined with trading. A pirate expedition might stop off to do a little quiet trading, and a trading expedition might turn to a little pirating. As time went on, trade among the Scandinavian countries and with the rest of Europe grew. Norway sent herring and salt to Sweden. Denmark received sheep from the Faeroe Islands. Greenland imported timber from Labrador and grain and iron from Europe. It paid for these in walrus and narwhal ivory, furs, live falcons, and even live polar bears. Norwegian Viking expeditions started in the spring after the seed was sown or in the autumn when crops were harvested. At home the Norsemen were mainly farmers and stockmen. They also hunted and fished. After a successful voyage or two, many retired from the sea and were often succeeded by their sons. During wars and raids, villagers who were not killed by the Vikings were often taken as slaves. These slaves, called thralls, were usually Irish, Finns, Germans, or Slavs. A free Norseman might be enslaved for a debt or crime, but this was rare. Many slaves were voluntarily freed by their masters, especially after the introduction of Christianity, and there was much intermarriage. The Norsemen at Home The houses of the Norsemen differed according to the resources of each country. In Norway houses were built of rough pine logs. The roofs were usually covered with turf or straw. In Iceland, which had few trees, houses were built of turf, rocks, and driftwood. Both in Iceland and Greenland heavy timbers needed for the frames of buildings were brought from Norway and later from North America. A house had only one room and was built with a pitched roof. A poor man might have two or three huts. The estate of a rich man had so many buildings that it looked like a village. In later centuries, several of these buildings were often connected by passageways. The houses were plain on the outside. All the decoration was indoors, where most of the woodwork was carved, painted, and touched with gilt. On festive occasions, brightly embroidered tapestries would be hung on the walls, and long tables were set up for feasting. The Norsemen had a great variety of foods and beverages. Mutton and beef were plentiful. Until its use was forbidden, the favorite meat was horsemeat. The Norsemen also used fish and cereals, eggs from wild and domestic fowl, and milk products. They had few vegetables. Honey was the only sweet, and bees were kept to supplement the wild honey. Meat and fish were often dried, smoked, or pickled. Many foods were preserved in brine or in sour whey, a preservative still in use among Scandinavians. Butter was never salted. It was eaten fresh or was fermented for use like cheese. Norsemen liked both fresh and sour milk and buttermilk too. The favorite drink was whey. They had a food named skyr that was much like cottage cheese. Apples and berries were their only fruits. Porridge was cooked in enormous kettles over an open fire. Although boiling was favored for most foods, meat was sometimes baked in hot ashes. Bread was baked in ashes or in clay ovens. At feasts the Norse drank quantities of ale. From honey they made a fermented drink called mead, and wealthy Norsemen imported wine from France. There were long and sometimes rowdy drinking festivals, at which sagas were told and poems were recited. All wealthy Norsemen dressed lavishly for events like weddings and funerals and for things, as the assemblies were called. Skins and furs of tame and wild animals were used, but the most common material was a woven woolen cloth, called vadmal. Dyes were expensive, so poorer people wore the cloth in its natural color. The rich wore it in bright colors, often striped and patterned. Silk and linen, which were imported and costly, were used mostly for underwear. Since the Vikings traded with so many countries, they often brought home new ideas for dress and adornment. The native dress of both sexes in early times was similar. The main garment was a long buttonless tunic, which might be narrow or wide. If wide, it was gathered around the waist with a belt. It had an opening that was slipped over the head and tightened with a brooch. The custom was to wear a gown of one color and a cloak of another. A man's tunic was usually sleeveless, perhaps to show off his muscles and gold arm rings. Young women wore their hair long and caught around the forehead with a band, sometimes made of pure gold. Noble and wealthy men also wore their hair long with a band to keep it in place. The young Norsemen loved games, especially those that helped to develop their bodies. They played ball games on the ground and on ice. Wrestling and fencing were popular sports. Young Norsemen used skates made of the bones of animals. According to a Norwegian historian, an unusual sport involved walking on oar blades while a boat was being rowed. In another game two or three small swords were thrown in the air and then caught; to play with three swords at once without injuring oneself required great skill. Norsemen loved music and dancing. They had a fidla, or fiddle, a horn made from a buck's horn, and also a kind of harp. The high point at a feast was the performance of a skald, or professional poet. There were no public schools. All education was given at home, with a parent, nurse, or visitor acting as teacher. Children were often sent to the home of a rich man, sometimes a relative, to be educated. Both girls and boys learned to sing, to recite and compose poetry, and to tell sagas. Girls were also given lessons in how to spin, weave, and dye wool; to sew, knit, and embroider; to wash and to cook; and to make butter and cheese. Some girls and most boys learned to read and cut runes, which were the letters of the ancient alphabet used by the Norsemen. Just as the English alphabet is often called the ABCs, that of the Norsemen was called futhork after the first letters. The early Norse alphabet had 24 letters. The later Norse alphabet had 16. At first runes were used for scratching names on personal belongings or for simple memorials. Later these memorials grew more elaborate. Thousands of these memorial stones have been found on the Scandinavian peninsula and in Denmark. North of Upernivik, in Greenland, the discovery of a little rune stone was considered proof that Vikings had traveled more than 400 miles north of the Arctic Circle. Others carved runes on the statue of a lion in Athens, Greece. In the early history of the Norsemen there were no nations in the modern sense. People lived in what might be called tribal communities. These communities were independent of one another, and banded together only for some common purpose. When the title konungr (king) was given to the chief of a community, it did not carry the meaning that it has now. There were many kings. Often one would rule over a small section of land no larger than a county, and some of the kings were war chiefs who had no land. Each community had a thing (assembly), which acted as a court and legislative body. Only those who owned land could be members. A king could hold his position only as long as the people wanted him. Before a new king could take office, he had to have the consent of the members of the assembly. Next in rank were the jarls, nobles who often had about as much power and land as the kings. Both kings and jarls had to rule according to law. No laws were written down until around 1100. Before then the laws were really traditions and opinions of the majority of the people. The people elected lawmen who had to know these unwritten laws and explain them to the rulers. Later in Sweden and in Denmark people began to unite under one king. In 872 Norway had a single king, known as Harald Fairhair. But Harald undid much of Norway's unity by giving each of his numerous sons the title of king. Norway therefore remained divided for some time. When Harald became king, some dissidents went to Iceland and founded a colony there. While the people of Iceland did not unite under one king at that time, Iceland was the only country to form a national assembly during the Viking Age. Called the Althing, it first met in 930 and is the oldest national assembly in the world. A young Viking, King Olaf Tryggvason of Norway, became a convert to the Christian religion some time before AD 1000. His passion for the new religion was backed by a military force that threatened all who refused baptism. Some Norsemen had already become Christians, mainly through Irish influence, though on the whole the Vikings were content with their own gods. Gradually Norway was Christianized, then the Faeroe Islands and Iceland, and finally Greenland. The first Christian missionaries in Greenland were brought there from Norway by Leif Ericson. A Viking chieftain was buried with everything he might need to get to Valhalla. One third of his property might be used in this way. (Another third went to his widow and the remainder to his children.) The goods buried included money, tools, changes of clothing, weapons, horses, chariots, boats, and even ships. Women's graves contained many of the things they might need in afterlife, such as needles and thread, looms, kitchen utensils, and cooking vessels. Sometimes a dead warrior would be placed aboard his ship, which was set afire and allowed to drift out to sea. Sometimes people were buried in boat-shaped coffins, which were covered with earth mounds. Fortunately, ships were not always burned, and a few have been preserved. Next to the sagas, graves have been the best source of information about the Norsemen. In Scandinavian museums there are examples of almost every art known to the Viking Age. Among these are jewelry, weapons, furniture, and bronze and silver utensils. Most have survived because they were made of such durable materials as stone, metal, and hardwood. But woolen clothes in good condition have been found in parts of Greenland where they had lain in the frozen soil for centuries. History from the Sagas The Norsemen, like the Greeks of Homer's time, were storytellers and poets. At all assemblies, weddings, and funerals, those skilled at storytelling and reciting verses would perform. When Christianity came to the mainland of Scandinavia, folk poems and stories were frowned upon by the clergy. But Iceland was protected by distance from the influence of Europe. So, long after Christianity became the official religion, the Icelandic people struggled to preserve their historical and literary heritage. Their religious leaders enjoyed the storytelling and found no offense in it. During the 12th and 13th centuries, the clergy and scholars of Iceland wrote many manuscripts. All were written as the saga tellers related them. Some were true and some were pure fiction. Among the serious historical records are sagas that tell of the kings and of Viking conquests. They tell of their discovery and colonization of Iceland and Greenland and their discovery of the American mainland. Two significant manuscripts dealing with the religion and philosophy of the Norsemen were written in Iceland--the Elder Edda (in poetry) and the Younger Edda (in prose). Much of what is known of early Norse mythology came from the Eddas. In Iceland much of the old Norse language has been retained. In Norway, Sweden, and Denmark the languages are as different from the old Norse as modern English is from early Anglo-Saxon. There is no consensus on the extent of Viking migration and their contribution to the population in the lands where they settled. Estimates differ on whether hundreds or thousands settled abroad. There is also disagreement as to whether the settlers were primarily men, who intermarried abroad, or whether whole families came. In Iceland, of course, all life and social organization sprang directly from the Viking settlers, but the impact of the Viking settlers in the British Isles and in France is much harder to determine accurately. It is also not possible to gauge how disruptive and hostile the Vikings were. Archaeological evidence reveals a culture that was the most advanced in Europe in the manufacture of arms and jewelry, as well as shipbuilding. Many styles of Viking ships were adopted by other European powers, most notably Alfred the Great of Wessex. The Vikings also displayed an ability to mobilize economic resources and to dominate a hostile landscape. These abilities can be seen in their great fortified camps, like that at Visby in Sweden, where hundreds of soldiers and traders lived. Additionally, the Vikings fostered commerce, founding many prominent trading centers in England and France. In addition, the Vikings created a rich body of vernacular literature in which they celebrated their heroic past. The Icelandic sagas represent a vast collection of both stories and histories. Some concern the great leaders of heroic days and the kings of the 11th and 12th centuries; many others deal with the families, feuds, and changing fortunes of the petty chieftains of Icelandic farmsteads and valleys in the 13th and 14th centuries. The more historical sagas describe what is known about the colonization of Iceland, the voyages to North America, and the rise of the powerful kings who led the efforts toward conversion and political consolidation. The Poetic Edda of Snorri Sturluson, who wrote in the early 1200s, portrays pre-Christian Viking history and mythology. Signs of the Viking influence are found in the languages, vocabulary, and place-names of the areas in which they settled. These offer clues regarding the density of migration, the ease of assimilation, and the preservation of distinct northern institutions and usages. An early form of popular or open government can be seen in the open air Althing of Iceland, where the free farmers came to voice complaints, resolve feuds, and enunciate and interpret the law for free men and their families and dependents. Icelanders view this as the earliest form of parliamentary government in Europe. The jury of English common law was a direct outgrowth of Viking ideas about community obligations and sworn investigations, both vital steps in building a civil society. The Vikings were one of several waves of attackers to fall on Europe in the centuries after the short-lived eminence of the Carolingian Empire. Others included the Magyars from Asia, who appeared on the eastern frontiers, and the Muslims, who worked outward from Spain and the Mediterranean. At first, the Vikings’ impact was primarily disruptive and destructive. Gradually the Vikings became part of the larger European community as they were attracted by a more settled life, and as Christian Europe’s ability to resist their attacks grew. The Vikings were great sailors and ferocious enemies, but also storytellers and workers of the highest level. Norse Gods and Mythology Scandinavian Mythology, pre-Christian religious beliefs of the Scandinavian people. The Scandinavian legends and myths about ancient heroes, gods, and the creation and destruction of the universe developed out of the original common mythology of the Germanic peoples and constitute the primary source of knowledge about ancient German mythology. Because Scandinavian mythology was transmitted and altered by medieval Christian historians, the original pagan religious beliefs, attitudes, and practices cannot be determined with certainty. Clearly, however, Scandinavian mythology developed slowly, and the relative importance of different gods and heroes varied at different times and places. Thus, the cult of Odin, chief of the gods, may have spread from western Germany to Scandinavia not long before the myths were recorded; minor gods—including Ull, the fertility god Njord, and Heimdall—may represent older deities who lost strength and popularity as Odin became more important. Odin, a god of war, was also associated with learning, wisdom, poetry, and magic. Most information about Scandinavian mythology is preserved in the Old Norse literature (see Icelandic Literature; Norwegian Literature), in the Eddas and later sagas; other material appears in commentaries by the Danish historian Saxo Grammaticus and the German writer Adam of Bremen (flourished about 1075). Fragments of legends are sometimes preserved in old inscriptions and in later folklore. GODS AND HEROES Besides Odin, the major deities of Scandinavian mythology were his wife, Frigg, goddess of the home; Thor, god of thunder, who protected humans and the other gods from the giants and who was especially popular among the Scandinavian peasantry; Frey, a god of prosperity; and Freya, sister of Frey, a fertility goddess. Other, lesser gods were Balder, Hermod, Tyr, Bragi, and Forseti; Idun, Nanna, and Sif were among the goddesses. The principle of evil among the gods was represented by the trickster Loki. Many of these deities do not seem to have had special functions; they merely appear as characters in legendary tales. Many ancient mythological heroes, some of whom may have been derived from real persons, were believed to be descendants of the gods; among them were Sigurd the Dragon-slayer; Helgi Thrice-Born, Harald Wartooth, Hadding, Starkad, and the Valkyries. The Valkyries, a band of warrior-maidens that included Svava and Brunhild, served Odin as choosers of slain warriors, who were taken to reside in Valhalla. There the warriors would spend their days fighting and nights feasting until Ragnarok, the day of the final world battle, in which the old gods would perish and a new reign of peace and love would be instituted. Ordinary individuals were received after death by the goddess Hel in a cheerless underground world. Scandinavian mythology included dwarves; elves; and the Norns, who distributed fates to mortals. The ancient Scandinavians also believed in personal spirits, such as the fylgja and the hamingja, which in some respects resembled the Christian idea of the soul. The gods were originally conceived as a confederation of two formerly warring divine tribes, the Aesir and the Vanir. Odin was originally the leader of the Aesir, which consisted of at least 12 gods. Together all the gods lived in Asgard. The Eddic poem Völuspá (Prophecy of the Seeress) portrays a period of primeval chaos, followed by the creation of giants and gods and, finally, of humankind. Ginnungagap was the yawning void, Jotunheim the home of the giants, Niflheim the region of cold, and Muspellsheim the realm of heat. The great world-tree, Yggdrasil, reached through all time and space, but it was perpetually under attack from Nidhogg, the evil serpent. The fountain of Mimir, source of hidden wisdom, lay under one of the roots of the tree. The Scandinavian gods were served by a class of priest-chieftains called godar. Worship was originally conducted outdoors, under guardian trees, near sacred wells, or within sacred arrangements of stones. Later, wooden temples were used, with altars and with carved representations of the gods. The most important temple was at Old Uppsala, Sweden, where animals and even human beings were sacrificed. See separate entries on most of the deities mentioned. Valhalla (Old Norse Valhöll,"hall of the slain"), in Old Norse mythology, the hall of slain heroes, ruled by the king of the gods, Odin, in the realm of the gods, Asgard. The hall had 540 doors, through each of which 800 heroes could walk abreast, and the roof was made of shields. The souls of heroic soldiers killed in battle were brought to Valhalla by warrior maidens called Valkyries. The heroes fought during the day, but their wounds healed before night, when they banqueted with Odin. Valkyries, in Scandinavian mythology, warrior maidens who attended Odin, ruler of the gods. The Valkyries rode through the air in brilliant armor, directed battles, distributed death lots among the warriors, and conducted the souls of slain heroes to Valhalla, the great hall of Odin. Their leader was Brunhild. The Valkyries play an important part in the opera Die Walküre (The Valkyries, 1856) by the German composer Richard Wagner. Odin (Old Norse Odhinn, Anglo-Saxon Woden, Old High German Wôdan, Woutan), in Norse mythology, king of the gods. His two black ravens, Huginn ("Thought") and Muninn ("Memory"), flew forth daily to gather tidings of events all over the world. As god of war, Odin held court in Valhalla, where all brave warriors went after death in battle. His greatest treasures were his eight-footed steed, Sleipner, his spear, Gungnir, and his ring, Draupner. Odin was also the god of wisdom, poetry, and magic, and he sacrificed an eye for the privilege of drinking from Mimir, the fountain of wisdom. Odin's three wives were earth goddesses, and his eldest son was Thor, the god of Thunder. Thor, in Norse mythology, the god of thunder, eldest son of Odin, ruler of the gods, and Jord, the earth goddess. Thor was the strongest of the Aesir, the chief gods, whom he helped protect from their enemies, the giants. He had a magic hammer, which he threw with the aid of iron gloves and which always returned to him. Thunder was supposed to be the sound of the rolling of his chariot. Thursday is named for Thor. Balder or Baldur, in Norse mythology, the god of light and joy, son of Odin and Frigga, king and queen of the gods. Having dreamed that Balder's life was threatened, Frigga extracted an oath from the forces and objects in nature, animate and inaminate, that they would not harm Balder, but she forgot the mistletoe. The gods, thinking Balder safe, cast darts and stones at him. The malicious giant Loki put a twig of mistletoe in the hands of Balder's twin, the blind Hoder, god of darkness, and directed his aim against Balder, who fell pierced to the heart. After the death of Balder, Odin sent another son, the messenger Hermod, to the underworld to plead for Balder's return. The god would be released only if everything in the world would weep for him. Everything wept except one old woman in a cave, and Balder could not return to life. Loki, in Norse mythology, the handsome giant who represented evil and was possessed of great knowledge and cunning. He was indirectly responsible for the death of Balder, god of light and joy. According to the Poetic Edda, a collection of Scandinavian myths, Loki and Hel, goddess of the underworld, will lead the forces of evil against the Aesir, or gods, in the titanic struggle of Ragnarok, the end of the world. Hel, in Norse mythology, the goddess of the dead. She dwelt beneath one of the three roots of the sacred ash tree Yggdrasil and was the daughter of Loki, the spirit of mischief or evil, and the giantess Angerbotha (Angerboda). Odin, the All-Father, hurled Hel into Niflheim, the realm of cold and darkness, itself also known as Hel, over which he gave her sovereign authority.

<urn:uuid:4ebbd6e4-2a03-4c52-b7df-7e2334647946>

CC-MAIN-2023-40

https://coursebible.com/world-history/vikings

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506045.12/warc/CC-MAIN-20230921210007-20230922000007-00388.warc.gz

en

Sharing Activities for Kids (Social Skills): Learn the benefits of sharing and teach your kids or students sharing skills with fun games and activities (includes great activities for young kids and also for older children!) Sharing is a lot more than the act of giving or dividing something with others. Sharing is an important social skill that allows us to foster positive relationships, build connections and participate in our communities. Young children may have a hard time sharing. Even older siblings might feel very reluctant to give up their special toys for the benefit of the younger child. And this is normal. Our kids need to meet several developmental milestones before they are ready to share. Table of Contents - Sharing and Other Social Skills - Benefits of Sharing - Why is my Kid so Reluctant to Share? - When Do Sharing Skills Develop? - Tips on How to Teach Sharing Skills to Kids - 32 Great Activities to Learn to Share Sharing And Other Social Skills Sharing skills interweave with other important social skills and pro-social behaviors: 1. Empathy: Sharing requires a child to understand and consider the needs and feelings of others, and act upon them. 2. Cooperation: Sharing often involves cooperation and collaboration with others. When children share, they can also practice working together towards a common goal and develop cooperation and teamwork skills. 3. Communication: Sharing requires children to practice their communication skills, express their needs and understand other peoples’ desires. 4. Problem-solving & conflict resolution: When you ask children to share, it can often lead to conflict and disagreements. When children share, they practice their problem-solving skills and learn about fairness and compromise. 5. Gratitude: Sharing can also help children develop gratitude and appreciation for what they have. When children share their resources with others, they learn to value their possessions and are more likely to feel grateful for them. Benefits of Sharing Sharing may come with some beneficial “side effects” There is a growing body of research that highlights the social and health-related benefits of sharing: 1. Improved well-being Studies have found that sharing can improve overall well-being and happiness. Sharing with others can increase feelings of social connectedness and reduce feelings of loneliness and isolation. In addition, giving to others can increase feelings of gratitude, which are linked to improved mental health. 2. Builds and strengthens relationships Sharing can help kids make friends, build relationships, and create connections and trust. When we share with others, we are showing them that we care and are interested in them. This can help improve social interactions, strengthen existing relationships and form new ones. 3. Increases cooperation and trust Sharing can promote cooperation and trust within groups. 4. Promotes generosity Sharing can also be a way to practice generosity and kindness, providing others with resources, support, or assistance they may need. 5. Encourages learning Sharing can also be a way to learn from others. When we share ideas, knowledge, and experiences, we can gain new insights and perspectives that we may not have considered before. 6. Fosters creativity and innovation Sharing ideas, experiences, perspectives, and resources can help foster creativity and innovation. 7. Fosters community Sharing can also help to create a sense of community. When people come together to share resources, ideas, or experiences, it can create a feeling of belonging and connectedness. 8. Encourages reciprocity Sharing can also encourage reciprocity or a sense of obligation to give back or pay it forward. When we share with others, they may be more likely to do the same for us or for others in the future. Overall, sharing can have a wide range of benefits for individuals and communities, from improved well-being to strengthened relationships and increased cooperation. Why is My Kid so Reluctant to Share? Young children may be very reluctant to share. Giving up your toy for the benefit of another child is not an easy task. There are many variables that may affect your kid’s ability to share willingly: - Age/Developmental factors /Emotional development - Understanding other people’s needs - Understanding other people’s feelings - How openly others express their desire to share - What type of resources they are sharing (toys, food, clothes) - Do they want or need that resource? - How much they cherished that resource (it is not the same to share their teddy bear as a random toy they didn’t even remember they had!) - Ownership of the resource (mine, family or a classroom’s resource) - Permanent vs. temporal timeline (when we share one of our toys, we get it back; when we share food, it never comes back) - Who we are sharing with. The recipient may also be important. Are we sharing with friends, family members, or complete strangers When Do Sharing Skills Develop? The ability to share is a social skill that develops gradually over time. Studies have found that young children as young as two years old are able to understand the concept of sharing and will share with others if prompted to do so. At that young age, infants may share as a way to: - seek a reaction - show a toy (attention-sharing) - start a game with the caregiver While children may begin to show some awareness of sharing at a very young age (as early as 12-18 months), it typically takes several more years before they are able to fully understand and engage in sharing behavior As children continue to develop socially and emotionally, their ability to share tends to improve. By the age of 5 or 6, most children have developed a strong sense of empathy and are able to understand the perspectives of others, which can make sharing easier and more natural. Tips on How to Teach Sharing Skills to Kids These are some tips that will help you teach your kids or students sharing skills: - Don’t force kids to share It is normal for a child to be reluctant to give up a toy or a resource and share it with others. We also want them to learn to make decisions independently and we should respect it if they don’t want to share something that belongs to them. Instead, teach by modeling the behavior and exploring how sharing makes other people feel and how we also benefit from reciprocity and social interaction. - Model sharing behaviors / Be a role model One of the best ways to teach kids how to share is to model sharing behaviors yourself. We can’t expect our kids to learn to share (or to share willingly) if we don’t model those sharing behaviors ourselves. Show your child how you share resources and help others, and encourage them to do the same. Whenever you share, verbalize and explain why you are doing it. “I’m finding this cookie so yummy that I want to share it with you so that you can also enjoy this yumminess” - Praise sharing behaviors Provide positive reinforcement to sharing behaviors when you spot them. When your child shares with another kid be their most enthusiastic cheerleader. “I’m so proud of you for sharing that toy with your brother” This is one of the most powerful tools we have when we are teaching kids a desired behavior or a new skill. Praising will result in that behavior happening more often in the future. - Create opportunities to practice sharing Research suggests that even younger children “will share on occasion when given multiple opportunities to share and … enough communicative support”. So a great way to develop sharing skills is to provide plenty of opportunities to do it. (Disclosure: We are a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for us to earn fees by linking to Amazon.com and affiliated sites. You can also read our Disclosure & Disclaimer policy here) 32 Fun Sharing Activities for Kids Kids learn while playing, so what best way to develop sharing skills than fun sharing games and activities? Let’s explore activities that may help kids learn the art of sharing: 1. Organize Play Dates Make sure your child has plenty of opportunities to share. Inviting friends over for a play date provides the perfect opportunity to create sharing situations. Activities that Require Turn-Taking Sharing resources can be considered a form of turn-taking. We can turn everyday life into fun turn-taking activities just by making some modifications. We are going to play the cooperative drawing in different ways below: 2. Team Drawing (I) Organize your students in pairs. Hand out a simple color-by-number drawing and divide the coloring pens giving half to each student. Name a color. Whoever has that color owns the turn and can start painting. Continue until you have gone through all the colors in the drawing. 3. Team drawing (2): Pass the pen Let’s make a variation to the previous activity. Still working in pairs, set a timer, and each time the alarm goes the student coloring the activity passes the pens to the next person. 4. Team drawing (3): Pass the paper And yet another sharing variation. This time the scarce resource is the coloring activity. Ask the students to work together to create a collaborative drawing. This time both students have a set of pens or crayons, but when the timer goes, they pass the paper and the other student continues drawing. Encourage them to take turns and build on each other’s ideas in order to create a great design. 5. Potato Head Take turns to create the craziest possible Potato Head. Make sure one doesn’t have all the elements they need to create the head (so they need to share and take turns with another kid) 6. Magnetic Face Puzzle In a small group, take turns to create a funny face with a magnetic face puzzle. Remember to model turn-taking: - “Now it’s is my turn to find some funny eyes” - “Oh, it is your turn! What part of the clown’s face will you be adding now?” 7. Build a Tower Build a tower as a team. Take turns placing bricks on the tower. Emphasize the importance of sharing resources and working together to achieve a common goal. Sharing Ideas for the Classroom 8. “Show & Share” This is a twist on the popular “Show & Tell” activity. Ask kids to bring an item and explain why it is important to them. Then, that toy (clearly marked!) will be shared with a peer. 9. Book Sharing Ask each kid to bring to school a book they enjoy. Place the books on a shelf, and everybody gets to share and borrow (keep a tracker with books & borrowers) 10. Shared Lunch / Brunch / Morning Tea This is a fun way to practice sharing in the classroom. Set a day when everybody will bring food to share (be mindful of food allergies) 11. Taking Care of the Class Mascot This is a super fun activity that students love. Bring or create a class mascot. Now the kids can share the class mascot, and they can take turns taking it home. 12. Collectibles / Trading Cards Select a fun or trendy trading card topic. Kids can exchange cards and learn how sharing resources (trading) benefits everybody. 13. Create a Sharing Badge Create a badge to recognize students’ amazing sharing skills. 14. Role Play Sharing You can use role-playing to help kids understand the benefits of sharing and practice sharing behaviors. These are examples of different scenarios: - Two children have to share a toy. Encourage them to take turns and talk about how it feels to share. Emphasize the importance of being patient and taking turns. - Your classmate has forgotten their lunch box at home. What would be a kind thing to do? - The student sitting next to you has lost their pencil case on their way to school. What would you do? 15. School Resources Sharing. Choose a resource that your students will need to share (school device, books, etc) For example, organize your kids in the playground or the gym around a certain activity (for example, the swing). Make sure there are more kids than slots available and ask them to take turns using that resource (you can time it or ask them to negotiate how long each will take and the order of taking turns) 16. Sharing Ideas Help your students explore how sharing ideas, experiences and skills can benefit everybody. Choose a project (for example, an app that will serve some purpose). Ask them to think for a few minutes about how they could improve it. Then, organize them in groups so that they share their ideas. Finally, ask them to reflect on how working in groups and sharing ideas and knowledge helped them improve their initial proposal. 17. Sharing Scientific Project Let’s replicate what research tells us about sharing by turning our students into young researchers. This activity will show your students how our desire to share is influenced by how important the object we are sharing is to us. This could work with kids that collect stickers or trading cards. First, ask them if they would be willing to share their stickers with others. Then, ask them to organize the stickers into three groups: favorite, okay, and least favorite. Are there different answers for each pile? You can do another variation with this same setup. Make groups of stickers that are duplicated and another group with stickers that are unique. Do we feel the same about sharing scarce resources? You can also prepare a similar activity by asking each person to think of three items that fall in those categories (love, okay, indifferent) and reflect on how likely they would be to share them. 18. Why Do People Share? (Survey) Ask your students to run a survey with friends, peers and family. Can you think of the last time you shared something? Now, could you tell me why you shared that item or resource? This activity will allow them to explore the reasons why people share. For example: - Altruistic, benefiting others (pro-social behavior) - Expect something in return (reciprocity) 19. How Does Sharing Make Me Feel? Ask your students to think about the last time they shared something. Then, ask them to write about that situation: - When did it happen - What did I share? - Why did I share? - Was that item special to me? - How did the other person feel? - How did I feel after sharing? 20. Sharing Creative Writing Write a story about sharing, and describe the situation and how the characters felt. 21. Create a Sharing Challenge Create a sharing challenge (7 Days of Sharing & Caring!) Did you share special items? Did you make a good deed? Ask the kids to share at least once a day for a week, and keep track of this challenge to share later with the class. 22. Bring a Board Game to School Ask students to bring a favorite board game to school. Kids can play in groups sharing the experience and the game with others Encourage children to participate in charitable activities, such as below: 23. Donating Toys to a Local Charity Let your child go through the toys, making sure they work, they have all pieces and parts, they are clean. You are modeling not only sharing skills but also caring and making sure it is as good as if you had to use it yourself. 24. Donating Clothes Have your child help you sort out clothes for charity. Show them how you make sure that those clothes are in good condition. Discuss how that helps others. 25. Volunteering at a Food Bank (or Helping Choose What To Donate) This can help foster a sense of generosity and empathy towards others. And it makes kids appreciate the things they have. By incorporating these activities into children’s play and daily routines, we can help teach them valuable social and emotional skills that will benefit them throughout their lives Sharing Games and Activities Play games that require sharing and cooperation, such as board games, card games, or team-building activities. Encourage children to work together and share resources in order to achieve a common goal. 26. “Musical Share” This fun game is a twist on the classic game Musical Chairs. Organize the kids in a circle. Each of them has a favorite toy. When the music starts the pass around the toys. When the music stops, they play for one minute with the toy that they have in their hands. 27. Sharing Circles During circle time, have kids taking turns sharing a toy or other item with the group. Emphasize the importance of being generous and empathetic towards others. Play cooperative board games that require cooperation and sharing of resources. Encourage children to work together and share resources in order to achieve a common goal: 28. Forbidden Island– The Cooperative Strategy Survival Island Board Game A fun game for kids ten and older that requires strategic thinking, problem-solving, and cooperation to complete the mission. 29. Cooperative Strategy Space Adventure Another fun cooperative game for kids seven and older, where they use their creative thinking skills and teamwork. A strategy game for older kids (13+) where all the family works together to save humanity 31. Reading About Sharing Reading about sharing is another fantastic way to learn this essential skill. Read books or stories that emphasize the importance of sharing and cooperation. Use these stories as a springboard for discussions about the importance of sharing and its benefits. Some examples of books about sharing: - Teach your Dragon to Share But what if your dragon doesn’t like sharing? What if he doesn’t want to share his toys? The Dragon series is absolutely gorgeous. Your kids can have a wonderful time while they learn the art of sharing. - Sharing and Taking Turns (2-5 year-olds) This picture book presents examples that help children practice sharing, understand how and why to share, and realize the benefits of sharing. Includes a note to teachers and parents, additional information for adults, and activities. - Friends Ask First!: A Book About Sharing (1-3-year-olds) A cute Daniel Tiger’s Neighborhood book. In this book, Daniel learns it is important to ask first before taking things away from friends. - Sharing Time (Toddler Tools®) (1-3-year-olds) This picture book offers toddlers simple choices (take turns, use the toy together, wait for another time) to make sharing easier and how to ask for help when sharing is difficult. 32. Sharing Song And let’s finish this post with the sharing song! Other Social Skill Resources These are some other helpful resources to help kids build social skills: - Turn-Taking Activities for Kids - I-Statement Worksheets - Self-Introduction for Kids (Worksheets) - Social Skills Activities for Kids - Conversation Starters for Kids - Listening Games and Activities - Apology Worksheets and Activities - Conflict Resolution Activities for Kids - Friendship Activities for Kids - 101 Kindness Activities for Kids

<urn:uuid:f41f482c-8a03-4bbe-9488-2c5d88c9bb9b>

CC-MAIN-2023-40

https://veryspecialtales.com/sharing-activities-for-kids/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233511717.69/warc/CC-MAIN-20231005012006-20231005042006-00889.warc.gz

en

Welcome to the fascinating world of augmented reality (AR). In recent years, this innovative technology has garnered significant attention and has the potential to revolutionize the way we perceive and interact with the world around us. AR combines the digital and physical realms, overlaying computer-generated content onto our real-world environment, enhancing our sensory experiences and opening up a realm of possibilities. As technology continues to advance at a rapid pace, the use of augmented reality is becoming more prevalent in various industries, including gaming, education, healthcare, marketing, and more. It offers an incredible opportunity to bridge the gap between the virtual and real worlds, blurring the boundaries of what was once thought possible. By seamlessly integrating digital information into our physical reality, augmented reality enhances our perception and understanding of the world. It allows us to manipulate and interact with digital objects as if they were physically present, creating immersive and engaging experiences. Imagine walking through a museum and being able to view interactive 3D models of ancient artifacts or exploring a virtual anatomy model that provides a deeper understanding of the human body. These are just a few examples of how augmented reality can enhance our learning experiences and provide a new dimension to our interactions. Moreover, AR has the potential to transform how we communicate and collaborate. It enables us to share our experiences with others in real-time, regardless of geographical barriers. Through AR-powered video conferencing or collaborative platforms, we can overlay digital content onto our shared environment, facilitating enhanced teamwork and knowledge sharing. Despite being relatively new, augmented reality has already demonstrated its versatility and potential. However, there is still much untapped potential to be explored. In this article, we will delve deeper into the world of augmented reality, exploring its definition, history, current applications, technological advancements, and the future potential it holds. We will also address the challenges and ethical considerations associated with this technology. So, fasten your seatbelts and prepare to embark on an exciting journey into the future of augmented reality, where the boundaries between the virtual and physical worlds continue to blur, and the possibilities are limited only by our imagination. Definition of Augmented Reality Augmented Reality (AR) is a technology that blends the physical world with computer-generated digital information, allowing users to experience an enhanced reality. Unlike virtual reality, which immerses users in a completely computer-generated environment, augmented reality overlays digital content onto the real world. AR enhances our perception of the physical environment by adding contextually relevant digital information in real-time. It achieves this through the use of various devices, such as smartphones, tablets, smart glasses, or specialized headsets. The key aspect of augmented reality is its ability to seamlessly integrate digital elements into the user’s view of the real world. These digital elements can include 3D models, graphics, text, videos, and even sound, all overlaid onto the user’s physical surroundings. This integration is made possible through advanced computer vision techniques, sensor input, and precise tracking of the user’s position and orientation. Augmented reality can be categorized into two main types: marker-based AR and markerless AR. Marker-based AR relies on visual markers, such as QR codes or specific patterns, to anchor the digital content onto the real world. When the device recognizes the marker, it overlays the associated digital information in the correct position and orientation. On the other hand, markerless AR uses computer vision algorithms to detect and track real-world objects or environmental features. This allows the digital content to be placed and interacted with in a more dynamic and contextually relevant manner, without the need for specific markers. Augmented reality can be experienced through various devices, ranging from smartphones and tablets to specialized AR headsets. With the widespread availability of smartphones and tablets, AR has become more accessible to the general public. Users can simply download AR-enabled applications and start experiencing augmented reality through their mobile devices. Specialized AR headsets, such as Microsoft’s HoloLens or Magic Leap, provide a more immersive and hands-free experience, allowing users to interact with digital content in a more natural and intuitive way. These headsets typically use transparent displays to overlay the digital content onto the user’s field of view, enabling a true blend of the real and virtual worlds. Overall, augmented reality offers a unique and interactive way to enhance our perception and interaction with the world around us. It has the potential to revolutionize industries across various sectors and provide endless opportunities for innovation and creativity. Brief History of Augmented Reality The concept of augmented reality may seem cutting-edge, but its roots can be traced back several decades. The origins of augmented reality can be found in early experiments and technological advancements in computer graphics, virtual reality, and wearable computing. The term “augmented reality” itself was coined by Tom Caudell, a researcher at Boeing, in the early 1990s. Caudell used the term to describe a digital display system he developed to assist aircraft assembly workers. In the late 1960s and early 1970s, Ivan Sutherland, a pioneer in computer graphics, developed the first head-mounted display (HMD) system, known as the “Sword of Damocles.” This system laid the groundwork for future advancements in augmented reality by overlaying computer-generated graphics onto the user’s perspective. In the 1990s, a significant milestone in the history of augmented reality was the development of the Virtual Fixtures system by Louis Rosenberg. This system used a head-mounted display to superimpose virtual objects onto the real world, allowing users to interact with them physically. As the technology continued to evolve, new applications in various industries started to emerge. In the early 2000s, the healthcare and medical fields began exploring the potential of augmented reality for surgical training and visualization. Surgeons could overlay 3D anatomical models onto the patient’s body, providing guidance and improving precision during procedures. The gaming industry also played a crucial role in driving the development of augmented reality technology. In 2009, ARToolkit, an open-source software library, was released, making it easier for developers to create augmented reality experiences. This led to the proliferation of augmented reality games and applications, with Pokémon Go being one of the most notable examples in 2016. In recent years, major tech giants have entered the augmented reality space, further pushing its boundaries. Microsoft introduced the HoloLens, an advanced AR headset capable of overlaying holographic images onto the real world. Similarly, Apple released ARKit, a development platform for creating augmented reality apps on iOS devices. The future of augmented reality holds immense potential, with advancements in hardware, software, and artificial intelligence. As technology continues to improve, we can expect more immersive and realistic augmented reality experiences, with seamless integration into our everyday lives. Overall, the history of augmented reality is characterized by a series of technological advancements, from early experiments and research to the development of commercial applications. With each step forward, augmented reality becomes more accessible, powerful, and integrated into our society. Current Applications of Augmented Reality Augmented reality has already found its way into a wide range of industries, offering innovative solutions and enhancing various aspects of our lives. Let’s explore some of the current applications of augmented reality: 1. Gaming and Entertainment One of the most well-known uses of augmented reality is in gaming and entertainment. Apps like Pokémon Go and Harry Potter: Wizards Unite have captivated audiences by overlaying virtual elements onto the real world, turning our surroundings into a playground for interactive gaming experiences. 2. Education and Training Augmented reality has great potential in the field of education. It provides interactive and immersive learning experiences, bringing complex concepts to life. Students can explore 3D models of historical artifacts, visualize scientific phenomena, or dissect virtual anatomy models. AR also offers training simulations for industries like healthcare, allowing medical professionals to practice procedures in a safe and controlled environment. 3. Architecture and Design Augmented reality is revolutionizing the way architects and designers visualize and present their work. With AR, they can overlay digital representations of their designs onto real-world environments, giving clients and stakeholders a tangible sense of how the final project will look and feel. This technology allows for real-time changes and adjustments, saving time and resources. 4. Retail and Ecommerce AR has the potential to transform the retail industry by providing immersive shopping experiences. Customers can virtually try on clothes, experiment with different furniture placements in their homes, or see how a product will look in their space before making a purchase. This technology enhances the online shopping experience, reduces returns, and increases customer satisfaction. 5. Healthcare and Medicine In healthcare, augmented reality has applications beyond training. Surgeons can use AR to overlay vital information, such as patient data or surgical plans, onto their field of view during procedures. This technology can aid in precise navigation and improve surgical outcomes. AR is also utilized for medical education, allowing students to explore detailed 3D anatomy models and better understand complex medical concepts. 6. Tourism and Travel Augmented reality enhances the tourism industry by providing interactive and informative experiences for travelers. AR apps can provide digital guides, historical information, and augmented navigation, enhancing exploration of new places. Visitors can learn about landmarks, cultural heritage, and hidden gems through their mobile devices or AR-enabled smart glasses. These are just a few examples of the current applications of augmented reality. As technology continues to advance, we can expect to see even more innovative uses in industries such as marketing, manufacturing, remote collaboration, and more. Augmented reality has the potential to transform our daily lives and revolutionize the way we interact with the world around us. Advancements in Augmented Reality Technology Augmented reality technology has made significant advancements in recent years, driven by improvements in hardware capabilities, software development, and the integration of artificial intelligence. Let’s explore some of the key advancements in augmented reality technology: 1. Hardware Innovations Advancements in hardware have played a critical role in enhancing the capabilities of augmented reality. Devices such as smartphones and tablets now have powerful processors, high-resolution displays, and advanced camera systems that can handle the processing and rendering required for augmented reality experiences. Additionally, specialized AR headsets and smart glasses, like Microsoft’s HoloLens or Google Glass, provide more immersive and hands-free experiences, offering users a true sense of augmented reality. 2. Enhanced Tracking and Sensing Precise tracking and sensing are key components of augmented reality technology. Advancements in computer vision algorithms and sensor technologies have improved the accuracy and reliability of tracking and sensing systems. This allows for more seamless integration of virtual content into the real world, with accurate placement and interaction with physical objects. 3. Real-Time Localization and Mapping (SLAM) Simultaneous Localization and Mapping (SLAM) is a technique that enables devices to understand their position and create maps of their environment in real-time. SLAM is crucial for augmenting the real world with digital content accurately. Recent advancements in SLAM algorithms and techniques have improved the robustness and accuracy of 3D mapping, allowing for more precise and stable augmentation experiences. 4. Artificial Intelligence Integration Artificial intelligence (AI) plays a significant role in enhancing augmented reality experiences. AI algorithms can understand the user’s environment, analyze the scene, and identify objects or features in real-time. This enables more intelligent and context-aware augmentations. AI can also enhance object recognition, speech recognition, and natural language processing, making interactions with augmented reality systems more seamless and intuitive. 5. Cloud-Based AR Applications Cloud computing has facilitated the development of cloud-based augmented reality applications. With the processing and storage capabilities of the cloud, AR applications can offload computationally intensive tasks to the cloud, allowing for more sophisticated and resource-demanding augmented reality experiences on mobile devices with limited processing power. This opens up opportunities for real-time collaboration and multi-user experiences. 6. Improved User Interaction Advancements in augmented reality technology have focused on improving user interaction and input methods. Gesture recognition, voice commands, and haptic feedback systems enable more natural and intuitive interactions with augmented reality content. This enhances user immersion and creates a more seamless and engaging user experience. These advancements in augmented reality technology have paved the way for exciting new applications and possibilities. As hardware and software continue to evolve, we can expect to see even more impressive and immersive augmented reality experiences that seamlessly blend the physical and digital worlds. The Role of Artificial Intelligence in Augmented Reality Artificial Intelligence (AI) plays a crucial role in advancing the capabilities and potential of augmented reality (AR) technology. By integrating AI algorithms and techniques into AR systems, we can enhance the understanding and interaction between virtual content and the real world. Let’s explore the role of AI in augmented reality: 1. Scene Understanding and Object Recognition AI algorithms have the ability to analyze the user’s environment and understand the scene in real-time. By employing computer vision techniques, AI can recognize objects, surfaces, and spatial features, allowing for accurate placement and interaction of virtual content. This enables a more seamless and natural integration of digital information into the real world. 2. Environmental Context Awareness AI can enable augmented reality systems to understand and interpret the environmental context in which they are deployed. By gathering information from various sensors and sources, including cameras, GPS data, and inertial sensors, AI algorithms can analyze the context and provide users with relevant and contextually aware information. This enhances the overall AR experience and makes it more personalized and adaptive to the user’s needs. 3. Natural Language Processing and Voice Recognition AI-powered natural language processing (NLP) techniques enable augmented reality systems to understand and interpret user commands and queries. By integrating voice recognition capabilities, users can interact with AR content using speech, allowing for a more intuitive and hands-free experience. NLP can also facilitate the understanding of contextual information and provide more informative and relevant responses to user queries. 4. Personalization and User Preferences AI algorithms can analyze user preferences, behavior, and historical data to personalize the augmented reality experience. By understanding the user’s interests and needs, AI can adapt the presentation of AR content, tailor recommendations, and enhance the overall user experience. This level of personalization enhances engagement and satisfaction with augmented reality applications. 5. Enhanced Computer Vision and Image Processing AI has significantly improved computer vision capabilities in augmented reality applications. Deep learning techniques, such as convolutional neural networks (CNNs), have revolutionized object recognition, tracking, and image processing. These advancements enable more accurate and robust detection and tracking of objects in real-time, allowing for more realistic and stable augmentation of the real world. 6. Predictive Analytics and Real-Time Insights AI algorithms can analyze data from various sources and provide real-time insights and predictive analytics in augmented reality applications. By analyzing user data, environmental factors, and other relevant parameters, AI can provide contextual recommendations, predictions, and insights that enhance decision-making and improve user experiences. The integration of artificial intelligence into augmented reality technology holds immense potential in shaping the future of AR. As AI continues to advance, it will enable more intelligent, context-aware, and personalized AR experiences, blurring the line between the physical and digital worlds. Future Potential of Augmented Reality The future of augmented reality (AR) holds immense potential for transforming various industries and aspects of our lives. As technology continues to advance, we can expect to see exciting advancements and innovative applications of AR. Let’s explore the future potential of augmented reality: 1. Enhanced Communication and Collaboration Augmented reality has the potential to revolutionize communication and collaboration by enabling users to share and interact with digital content in real-time. AR-powered video conferencing and collaborative platforms will allow users to overlay digital content onto shared environments, fostering enhanced teamwork and knowledge sharing. 2. Immersive Entertainment and Media AR will continue to reshape the entertainment industry by providing more immersive and interactive experiences. We can expect to see new forms of storytelling, gaming, and artistic expression that blend the real and digital worlds. AR can also transform the way we consume and experience traditional media, such as movies, music, and books. 3. Revolutionizing Retail and Ecommerce The future of retail and ecommerce lies in augmented reality. AR will enable customers to virtually try on clothes, visualize furniture in their homes, and see products in their desired environment before making a purchase. Enhanced product visualization and customization options will create more personalized and engaging shopping experiences. 4. Augmented Workplaces and Productivity Augmented reality has the potential to revolutionize workplaces by providing workers with real-time information, guidance, and assistance. AR glasses or headsets can overlay instructions, data, and diagrams, improving efficiency and reducing errors in fields such as manufacturing, logistics, and maintenance. This technology will enhance productivity and enable workers to access critical information without interrupting their workflow. 5. Education and Training Transformation AR has tremendous potential to transform education and training by providing more interactive and immersive learning experiences. Students can explore historical landmarks, participate in virtual science experiments, and collaborate with classmates regardless of their physical location. AR will revolutionize training by offering realistic simulations that support skills development in various industries. 6. Healthcare and Medical Advancements In the healthcare and medical fields, AR will continue to play a vital role. Surgeons can benefit from AR-assisted procedures, where they can overlay vital information or navigate complex anatomy in real-time. Medical education will also be enhanced through interactive 3D models and simulations, allowing students to gain a deeper understanding of complex medical concepts. 7. Augmented Reality in Smart Cities AR has the potential to transform our cities, providing real-time information about transportation, navigation, and points of interest. With AR-enabled smart glasses or mobile devices, users can seamlessly access information about their surroundings, public transportation schedules, and interactive navigation guides. This technology will enhance the overall urban experience and help individuals navigate complex city infrastructures. The future potential of augmented reality is vast, and its applications extend beyond the sectors mentioned above. As technology advances, we can expect more seamless, intuitive, and immersive augmented reality experiences that seamlessly blend the digital and physical worlds, enhancing our daily lives in countless ways. Challenges and Limitations of Augmented Reality While augmented reality (AR) holds immense potential, there are several challenges and limitations that need to be addressed for its widespread adoption and optimal implementation. Let’s explore some of the main challenges and limitations of augmented reality: 1. Hardware Limitations The current hardware limitations of devices used for augmented reality experiences can hinder the full potential of AR. AR requires devices with high processing power, advanced sensors, and high-resolution displays. Although smartphones and tablets have made AR more accessible, they may still lack the processing capabilities and battery life required for complex AR applications. Specialized AR devices need to become more lightweight, affordable, and comfortable to encourage widespread adoption. 2. Display and Optics The quality of displays and optics is crucial for delivering a convincing and immersive augmented reality experience. Issues such as limited field of view, image distortion, and imperfect tracking can affect the realism and user experience. Advancements in display technologies, optics, and tracking algorithms are needed to address these challenges and provide more seamless and visually appealing AR experiences. 3. Content Creation and Integration Creating high-quality and engaging augmented reality content can be a complex and time-consuming process. Creating 3D models, animations, and interactive elements require specialized skills and tools. Additionally, integrating AR content with real-world objects or environments can be challenging due to variations in lighting conditions, object recognition, and scene understanding. Streamlining content creation processes and improving integration techniques will facilitate the development of diverse and high-quality AR experiences. 4. User Interface and Interaction Designing intuitive, efficient, and user-friendly interfaces for augmented reality can be a significant challenge. In AR, the user interface needs to be non-intrusive, allowing users to interact with digital content seamlessly while still being aware of their physical surroundings. Finding the right balance between providing informative content and avoiding information overload is crucial for a positive user experience. Developing better interaction methods, such as gesture recognition, voice commands, or eye-tracking, can improve the usability and engagement of AR applications. 5. Privacy and Ethical Concerns As with any technology that collects and processes data, augmented reality raises privacy and ethical concerns. AR devices and applications can collect sensitive user information and generate detailed profiles. Safeguarding user privacy, ensuring data security, and addressing ethical considerations, such as consent and responsible data usage, are paramount. Striking a balance between collecting necessary data for AR functionality and respecting user privacy will be essential for the trust and acceptance of AR technology. 6. Social Acceptance and Adoption Hurdles Augmented reality is still a relatively new technology for many users, leading to hesitancy and uncertainty. Widespread adoption may require overcoming social acceptance barriers and addressing concerns about social etiquette, data privacy, distraction, and addiction. Raising awareness, educating the public, and providing meaningful and beneficial use cases can help build trust and encourage broader acceptance of AR technology. Addressing these challenges and limitations will pave the way for the future of augmented reality, enabling its full potential to be realized across diverse industries and enhancing our daily lives in meaningful ways. Ethical and Privacy Concerns in Augmented Reality As augmented reality (AR) continues to evolve and become more integrated into our daily lives, there are several ethical and privacy concerns that need to be considered. While AR has the potential to enhance our experiences and interactions, it also raises important questions about the ethical implications and privacy risks. Let’s explore some of these concerns: 1. Data Privacy and Security AR applications often collect and process large amounts of data, including personal information, location data, and behavioral patterns. Ensuring the security and privacy of this data is crucial. Appropriate measures must be taken to protect user information from unauthorized access, data breaches, and misuse. Transparent data collection practices and robust privacy policies are essential for gaining and maintaining user trust. 2. User Consent and Control Obtaining informed consent from users regarding the collection and usage of their data is paramount. Users should have clear visibility and control over how their data is collected, stored, and shared. AR applications should provide opt-in mechanisms and easy-to-understand privacy settings, empowering users to make informed decisions about their data and privacy preferences. 3. Anonymity and Surveillance AR technologies have the potential to enable sophisticated tracking and profiling of individuals, raising concerns about surveillance and loss of anonymity. Data collected through AR can be used to create detailed profiles and target users with personalized advertisements, potentially invading privacy. Striking a balance between personalized experiences and preserving individual anonymity is important to address privacy concerns in AR. 4. Real-World Distractions AR applications, particularly those accessed through mobile devices, carry the risk of diverting users’ attention from their immediate physical surroundings. This poses safety concerns, especially in situations such as walking, driving, or operating machinery. Ensuring responsible and context-aware design is essential to mitigate potential risks and prevent accidents or harm caused by distraction. 5. Digital Divide and Accessibility Providing equitable access to AR technologies and experiences is crucial to avoid exacerbating existing inequalities. The digital divide, where certain populations have limited access to technology, could lead to disparities in accessing the benefits of AR. Additionally, accessibility features must be considered to ensure that AR experiences are inclusive and can be accessed by users with disabilities. 6. Ethical Content and User Experience AR content should adhere to ethical guidelines and not promote harmful or offensive content. Designing AR applications with care and consideration for user experience and wellbeing is essential. Striking a balance between enhancing reality and distorting it to a point that may manipulate or deceive users is a critical ethical consideration for AR developers and designers. Addressing these ethical and privacy concerns in augmented reality is crucial for fostering responsible and ethical use of the technology. Regulations, industry best practices, and ongoing dialogue between developers, users, and policymakers are necessary to ensure that AR technology is developed and deployed ethically, preserving privacy and fostering a positive and inclusive user experience. Augmented reality (AR) is a technology that has the power to transform the way we perceive and interact with the world around us. By seamlessly integrating digital information into our physical reality, AR enhances our experiences, opens up new possibilities, and fosters innovation across various industries. We have explored the definition of augmented reality and its brief history, witnessing how this technology has evolved from early experiments to the widespread applications we see today. AR is currently being utilized in gaming, education, retail, healthcare, and more, offering interactive and immersive experiences that bridge the gap between the virtual and real worlds. Advancements in hardware, software, and artificial intelligence have dramatically enhanced the capabilities of augmented reality. From improved tracking and sensing to AI-powered scene understanding and object recognition, AR continues to push the boundaries of what is possible. Additionally, future advancements hold immense potential, including enhanced communication and collaboration, revolutionized retail experiences, and personalized education and training. However, augmented reality also comes with its share of challenges and ethical considerations. Privacy and data security, consent and control, user experience, and the responsible use of AR content are all critical areas that need continuous attention and mitigation. Balancing the benefits of AR with the need for privacy and ethical practices is essential for its widespread adoption and acceptance. As we move into the future, it is crucial to address these challenges and concerns. Striking a balance between technological advancements, user experience, and ethical considerations will be instrumental in realizing the full potential of augmented reality and ensuring its positive impact on society. Overall, augmented reality has the potential to reshape industries, revolutionize education and training, enhance communication and collaboration, and provide us with richer and more interactive experiences. With the right balance of innovation, responsibility, and ethical considerations, AR has the power to unlock a world of endless possibilities and bring the virtual and real worlds closer together.

<urn:uuid:1cf1e65b-0121-4c35-895e-c51e4106cb25>

CC-MAIN-2023-40

https://robots.net/tech/what-is-the-future-of-augmented-reality/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506686.80/warc/CC-MAIN-20230925051501-20230925081501-00788.warc.gz

en

What is an appositive, and what are some famous appositive examples? Such questions can overwhelm you if you are learning English. Edulyte offers expert guidance for appositives. Find answers to all your questions about appositives and get exclusive access to free resources for English. What Is An Appositive- get a quick grasp of it Do you ever struggle in expressing your thoughts while writing? Perhaps you’re unsure how to emphasise certain information or are looking for ways to make your sentences more dynamic. If yes, you must train in the art of appositives to deal with such an issue. An appositive, in easy terms, is a noun or noun phrase that explains another noun or pronoun in the sentence. Appositive’s examples include: “My friend, a talented musician, will be performing at the concert tonight.” In this case, “a talented musician” is the appositive, which provides additional information about the “my friend.” But why are appositives important in English grammar? After figuring out what are appositives, one has to get acquainted with their importance in English grammar. - Appositives allow us to add more precision and detail to our writing. Using appositives, we can clarify the meaning of a sentence and provide extra information that might not be immediately obvious. - It can benefit technical or academic writing, where accuracy and clarity are paramount. - In addition, appositives can help to vary the structure of our sentences, making them more interesting and engaging to read. By breaking up long or complex sentences with appositives, we can create a more natural and flowing rhythm to our writing. - You can be a seasoned writer or just starting; appositives are a valuable tool for everyone. These simple but powerful grammatical structures add depth, precision, and creativity to your writing, making it more engaging and effective for your readers. Understanding Appositives: finger out how they work and what are appositional phrases? An appositive as a clever grammatical structure might sound complex, but they are pretty simple once you understand how they work. For example, “My dog, a lovable golden retriever, loves to play fetch.” In this case, “a lovable golden retriever” is the appositive, which helps to describe the noun “my dog.“ But how do appositives work? The key is to think of them as a renaming or explaining function. When we use an appositive, we provide more information about the noun or pronoun that comes before it. It can be helpful in various contexts, from academic writing to creative storytelling. Another critical aspect of appositives is the use of appositional phrases. How do we define appositional phrases? These phrases act as the appositive, providing more detail and context for the noun or pronoun. Appositive examples include,, “My sister, a talented musician and avid hiker, is visiting me this weekend.” Here, the appositional phrase “a talented musician and avid hiker” provides even more detail about the noun “my sister.” Examples of Appositives In Sentences, Literature And Media If you are still wondering what are appositives, let us check out another definition. Appositives as grammatical structures are a simple yet effective way to provide additional information about nouns and pronouns in your sentences. In the sentence “Pizza, my favourite food, is delicious,” the appositive is “my favourite food,,” which provides more information about the noun “pizza.” Similarly, in “The team’s captain, a skilled athlete and natural leader, led them to victory,” the appositive is the phrase “a skilled athlete and natural leader,” which describes the noun “the team’s captain.” But appositives aren’t just valuable for everyday writing – they can also be found in literature and media. An important appositive’s example is found in F. Scott Fitzgerald’s classic novel The Great Gatsby, we see the appositive used to significant effect. In the line “Daisy, her voice full of money, was a charming little fool,” the appositive “her voice full of money” vividly describes the character’s speech. Among songs, we find many appositives examples. In the song “Rocket Man” by Elton John, we see the use of appositives in the line “And I think it’s gonna be a long, long time / ‘Til touchdown brings me ’round again to find / I’m not the man they think I am at home.” Here, the appositive “they think”provides more information about the pronoun “I.” Rules For Using Appositives Correctly: handy guidelines with easy examples To be a pro in answering what is an appositive and in using appositives, there are rules that you have to keep in mind. Each rule has been explained in detail with examples. Rule #1: Proper Punctuation: explanation and examples of usage One of the most important rules for using appositives correctly is proper punctuation. Generally speaking, you’ll want to use either commas or dashes to set off the appositive from the rest of the sentence. For example, in the sentence “My best friend, an accomplished artist, is visiting next week,” the appositive is “an accomplished artist,” which is set off by commas. Similarly, in “The company’s CEO – a savvy businesswoman with years of experience – led the team to success,” the appositive is the phrase “a savvy businesswoman with years of experience,” which is set off by dashes. However, remember there will be cases where you won’t need to use punctuation. For instance, in the sentence “I met my friend Jane at the park,” the noun “Jane” is used as an appositive but doesn’t require any punctuation. Rule #2: Placement of Appositives: guidelines for use and examples Another essential rule to remember when using appositives correctly is the placement of these structures within a sentence. Appositives need to be placed in the right spot to make sense and avoid confusion for the reader. Guidelines for where to place appositives in a sentence include: - Place the appositive immediately after the noun or pronoun it is describing. Example: “My favourite animal, a golden retriever, loves to play fetch.” - Place the appositive at the beginning of a sentence to add emphasis. Example: “A talented musician, she has played the piano since childhood.” - Place the appositive at the end of a sentence for a strong finish. Example: “I love to travel to exotic places, like Bali, where I can explore new cultures.” It’s important to note that incorrect appositive placement can cause confusion and alter the intended meaning of a sentence. Incorrect: “The president’s wife, Sarah, who is a singer, visited the President’s House.” In this example, the appositive “who is a singer” is misplaced, making it unclear if it refers to the president’s wife or someone else. Correct: “The president’s wife, who is a singer, visited the President’s House.” Here, the appositive is correctly placed immediately after “the president’s wife,” making it clear that it refers to her. Rule #3: Agreement with the Noun: explanation and examples When using appositives, it’s vital to ensure they agree with the noun they rename. It means that the appositive must match the noun in terms of number (singular or plural) and gender (masculine, feminine, or neutral). In the given sentence,”My dog, a golden retriever, loves to play fetch,” the noun “dog” is singular, so the appositive “a golden retriever” is also singular. It’s important to note that appositives must also agree with the gender of the noun. For example, in the sentence “Maleficent, a powerful witch, curses Princess Aurora in the Sleeping Beauty,” the noun “Maleficent “ is the name of a witch, so the appositive “a powerful witch” is also feminine. Incorrect agreement with the noun can lead to confusion and grammatical errors. For example: Incorrect: “The cat, a fierce hunter, loves to play with their toys.” In this example, the appositive “their toys” is incorrect because it suggests that the cat has multiple owners. Instead, it should be “its toys” to agree with the singular noun “cat.” Correct: “The cat, a fierce hunter, loves to play with its toys.” Rule #4: Avoiding Ambiguity : guidelines and examples When using appositives, it’s essential to avoid ambiguity and ensure the intended meaning is clear to the reader. Ambiguity can occur when the appositive could refer to more than one noun in the sentence. To avoid ambiguity, consider the following guidelines: - Use a comma to separate the appositive from the rest of the sentence. Example: “My friend, the doctor, is coming over for dinner.” In this sentence, the appositive “the doctor” refers to “my friend.” - Use a relative pronoun to introduce the appositive. Example: “The man who won the lottery, Bob, is celebrating with his family.” Here, the appositive “Bob” is introduced by the relative pronoun “who,” making it clear that it refers to “the man who won the lottery.” - Use a colon to introduce the appositive. Example: “My favourite movie: The Godfather, is a classic.” In this sentence, the appositive “The Godfather” is introduced by the colon, indicating that it is an example of the speaker’s favourite movie. It’s essential to avoid ambiguity in appositive usage because it can lead to confusion and alter the sentence’s intended meaning. For example: Ambiguous: “My friend, the lawyer, met with the client who was angry.” This sentence makes it unclear whether the lawyer or the client was angry. Unambiguous: “My friend, who is a lawyer, met with the client who was angry.” Here, the relative pronoun “who” clarifies that the appositive “lawyer” refers to “my friend.” Rule #5: Varying Sentence Structure: explanation and examples Using appositives in various sentence structures can make your writing more interesting and engaging. You can avoid monotony and create more rhythm in your writing by varying sentence structure. Below are some examples of various sentence structure with appositives: - Beginning a sentence with an appositive: Example: “A talented artist, she had painted hundreds of beautiful landscapes.” - Using an appositive in the middle of a sentence: Example: “The company, known for its excellent customer service, was voted the best in the industry.” - Using an appositive at the end of a sentence: Example: “He spends his weekends hiking in the mountains, a passion he developed in college.” Types of appositives: access definitions with examples Edulyte’s English mentors define appositional types in a crystal-clear manner with definitions and examples. Check it out to improve your knowledge of appositions and feel free to share it! Essential Appositives: definition and examples Essential appositives or restrictive appositives are necessary to identify the noun they are renaming. In addition, they are often used to provide additional information about the noun; without them, the sentence would not make sense or be ambiguous. Here are some examples of essential appositives in sentences and literature: - “The capital of France, Paris, is known for its romantic atmosphere.” In this sentence, the appositive “Paris” is essential to identify which capital is being referred to. - “My best friend, the talented musician, played a beautiful melody on her guitar.” Here, the appositive “the talented musician” is essential to identify which best friend is being referred to. - “The novel, To Kill a Mockingbird, was written by Harper Lee.” In this sentence, the appositive “To Kill a Mockingbird” is essential to identify which novel is being referred to. Essential appositives can also be found in the literature: - “In that empire, the art of cartography attained such perfection that the map of a single province occupied the entirety of a city, and the map of the empire, the entirety of a province.” – Jorge Luis Borges, “On Exactitude in Science.” In this short story, the essential appositive “the map of a single province” is necessary to clarify the detail of the empire’s cartography. - “When he was nearly thirteen, my brother Jem got his arm badly broken at the elbow.” – Harper Lee, To Kill a Mockingbird. Here, the essential appositive “my brother Jem” is crucial to establish the narrator’s relationship to the character. Nonessential Appositives : definition and examples Nonessential or nonrestrictive appositives, provide additional information about a noun. However, the sentence would still make sense without them. Commas often set them off and can be omitted, as their omission would keep the sentence’s meaning the same. Below are nonessential appositives examples from sentences and literature: - “My brother, a talented musician, played a beautiful melody on his guitar.” In this sentence, the appositive “who is a talented musician” is nonessential because the sentence would still make sense without it. - “The movie, which was directed by Christopher Nolan, won multiple awards at the film festival.” Here, the appositive “which was directed by Steven Spielberg” is nonessential because the sentence still conveys the necessary information without it. - “My favourite novel, The Catcher in the Rye, was written by J.D. Salinger.” In this sentence, the appositive “The Catcher in the Rye” is nonessential because the sentence still identifies the novel as the speaker’s favourite without it. Nonessential appositives can also be found in the literature: - “Gatsby, who represented everything for which I have an unaffected scorn, sat in the living-room.” – F. Scott Fitzgerald, The Great Gatsby. In this sentence, the appositive “who represented everything for which I have an unaffected scorn” is nonessential because the sentence would still make sense without it. - “We found the house, a rambling, old-fashioned farmhouse, nestled among the rolling hills.” – Jane Austen, Sense and Sensibility. Here, the appositive “a rambling, old-fashioned farmhouse” is nonessential because the sentence still identifies the house as being nestled among the rolling hills without it Appositive Phrases: definition and examples An appositive phrase identifies or renames a noun or pronoun. It is a group of words and functions like an appositive but includes additional descriptive information. Commas usually set off an appositive phrase and can be restrictive or non-restrictive. Some examples of appositive phrases in sentences and literature: - “My favourite book, a classic novel with a thrilling plot and dynamic characters, is To Kill a Mockingbird.” In this sentence, the appositive phrase “a classic novel with a thrilling plot and dynamic characters” adds additional descriptive information to the noun “book.” - “The city of lights, Paris, is a popular tourist destination.” Here, the appositive phrase “Paris” renames or identifies the noun “city of lights.” - “The teacher, a woman with a passion for education and years of experience, inspired her students.” In this sentence, the appositive phrase “a woman with a passion for education and years of experience” adds descriptive information to the noun “teacher.” Appositive phrases can also be found in the literature. For example: - “The man’s eyes, deep and dark as a forest at night, stared out from under bushy eyebrows.” – J.K. Rowling, Harry Potter and the Sorcerer’s Stone. Here, the appositive phrase “deep and dark as a forest at night” adds descriptive information to the noun “eyes.” - “The city, a metropolis of towering skyscrapers and bustling streets, never slept.” – F. Scott Fitzgerald, The Great Gatsby. In this sentence, the appositive phrase “a metropolis of towering skyscrapers and bustling streets” adds descriptive information to the noun “city.” - An appositive is a noun or noun phrase that renames or explains another noun or noun phrase. - Appositives can be either essential or nonessential to the sentence’s meaning. - Restrictive appositives limit or restrict the meaning of the noun they rename, while non-restrictive appositives provide extra information. - Appositives should be set off with commas unless they are essential to the sentence’s meaning. - Appositives can vary in length from a single word to a lengthy phrase. - Proper placement of appositives is essential to avoid ambiguity and confusion in the sentence. - Varying sentence structure with appositives can enhance writing and make it more interesting to read. - Appositives can be found in sentences and literature, adding clarity and descriptive detail to the writing. Question comes here Frequently Asked Questions Yes, appositives can be used in all types of sentences, including declarative, interrogative, imperative, and exclamatory. However, it is vital to use appositives correctly to avoid ambiguity and maintain clarity in the sentence. Additionally, the placement and punctuation of appositives may vary depending on the sentence type. They are necessary for identifying the noun and pronoun they are renaming. They provide additional information for the noun or pronoun they are renaming. They are not required for identification. Commas are not required to set them off. Commas set them off. Example: My friend John is a doctor. “John” is essential to the meaning of the sentence, as it identifies which friend is being referred to. Example: John, my friend, is a doctor. “my friend” is nonessential to the meaning of the sentence, as the name “John” alone would still convey the necessary information. Yes, appositives can be more than one word. An appositive can be a phrase that consists of multiple words, such as “the capital city of France” in the sentence “Paris, the capital city of France, is a popular tourist destination.” In this example, “the capital city of France” is a noun phrase that renames “Paris.” Other examples of multi-word appositives can include adjective phrases or clauses, like “a talented musician who plays the piano beautifully” in the sentence “My friend Alice, a talented musician who plays the piano beautifully, will perform at the concert.” Some common mistakes to avoid when using appositives are: - Forgetting to use commas to set off nonessential appositives. - Placing appositives too far away from the noun they are modifying. - Failing to make the appositive agree in number with the noun it is renaming. - Creating ambiguity by not making it clear whether the appositive is essential or nonessential. - Using an incorrect or inappropriate appositive in terms of meaning or context. Yes, appositives can be used in questions. They can be used to add additional information or clarification to the noun or pronoun in the question. For example, “What kind of car, a sports car or a sedan, did you rent for the weekend?” In this question, “a sports car or a sedan” is an appositive phrase that provides additional information about the noun “car”. Of course! Edulyte offers free English resources for anyone who intends to learn. We have created a worksheet for appositives. Go ahead and test your knowledge.

<urn:uuid:7b987157-25ec-45c2-b45d-b25de4c2464a>

CC-MAIN-2023-40

https://www.edulyte.com/english/appositive/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506479.32/warc/CC-MAIN-20230923030601-20230923060601-00289.warc.gz

en

Table of Contents Show - Origins of the “Knight in Shining Armor” - Characteristics of a Knight in Shining Armor - Representation in Literature - Role in Popular Culture - Modern Interpretations - Conclusion: The enduring appeal of the “Knight in Shining Armor” - Frequently Asked Questions Origins of the “Knight in Shining Armor” To understand the origins of the “Knight in Shining Armor,” explore the section on the history of chivalry and medieval knights and their code of conduct. These sub-sections will provide insight into the historical and cultural context that gave rise to this romanticized figure and its enduring appeal. History of chivalry Chivalry has a storied past, steeped in honor and nobility. The practices of medieval knighthood that evolved into the chivalric code of conduct continue to captivate people today. Etiquette, gallantry, courtly love and martial prowess were among the key tenets of chivalry. Knights once roamed the countryside seeking adventure and protecting their lords and ladies, embodying the ideals of chivalry. The history of chivalry is sometimes shrouded in mythos and legend. While its legacy continues to fascinate people to this day, many aspects are misunderstood or romanticized. However, historical fact shows that chivalry was an influential force during its time, particularly during the era of feudalism in Europe. Chivalry had many unique customs and rules. For instance, a knight was expected to swear allegiance not only to his lord but also to God. Additionally, he was supposed to protect women and children from harm at all times. The true history of chivalry is complex and multifaceted. While it initially began as a code for mounted warriors in early medieval England around 1066 A.D., it quickly spread throughout Europe over time, culminating in a complex set of rules governing social behavior that often extended far beyond the battlefield. Medieval knights were basically the first bros before hoes group, except they called it ‘chivalry’. Medieval knights and their code of conduct During the medieval period, knights lived by a chivalric code that demanded they uphold virtues such as loyalty, bravery, and honor. This code emphasized their duty to defend their lord, country and the weak against oppression. Knights who followed this code were held in high regard, admired for their skill in combat and exemplary character. As a result of this elevated position, knights developed into legendary figures representing heroic qualities. One of the most notable stories that embodies the chivalric code is the story of William Marshal. He began his training as a page in a noble household and later became one of England’s most celebrated knights. In 1194, at just 20 years old, Marshal engaged in battle with a champion for King Richard I and emerged victorious. His undying loyalty to King John earned him further recognition as he served to protect the kingdom during King John’s reign. While the legends surrounding knights have evolved over time into many forms of pop culture caricatures such as those featured in movies or video games as ‘The Knight In Shining Armor‘, it is important to remember that these modern interpretations often oversimplify and misrepresent what being a knight was all about. In reality, knights played an instrumental role in shaping society during medieval times through both their dedication to preserving justice and their use of military force to maintain peace and stability. A knight in shining armor is a lot like a superhero, except with more armor and less spandex. Characteristics of a Knight in Shining Armor To embody the ideals of a knight in shining armor, you must possess the qualities of honor, virtue, bravery, courage, loyalty, and selflessness. In order to become a true symbol of chivalry, you will have to master these characteristics. This section, “Characteristics of a Knight in Shining Armor,” will provide an insight into three major areas that require your attention: honor and virtue, bravery and courage, loyalty and selflessness. Honor and virtue The chivalrous qualities of a knight in shining armor include the embodiment of both Honor and Virtue. This refers to their unwavering commitment to maintaining ethical standards, acting with respect and integrity, and possessing a righteous character. Such knights prioritize service above self-interest and conduct themselves with a sense of duty towards all they encounter. The display of these qualities reflects the very essence of what it means to be a leader. Furthermore, those who demonstrate Honor and Virtue take pride in their nobility and exhibit an acute awareness of the impact their actions have on others. They challenge themselves to rise above their imperfections, act responsibly, value diversity, strive for fairness and assist others as best they can. They are respected by all, including those who may not necessarily agree with them on all aspects. Additional unique details about these knights include their courage which is often showcased through acts of bravery such as risking personal harm for the sake of another’s well-being. Moreover, they are also known for honesty which plays a significant role in building trust among those whom they serve. With such qualities, Knights become symbols of hope for many people across different cultures. According to historical accounts from medieval Europe, King Arthur is considered one such Knight whose Honor and Virtue went unmatched in his time. A knight in shining armor isn’t afraid of a little blood, sweat, and tears – or even a dragon or two. Bravery and courage A chivalrous knight exhibits bravery and courage in any perilous situation. Fearlessness is an essential characteristic of a knight in shining armor, where they face the greatest dangers without hesitation. In times of war, the knight takes charge and leads by example. While defending their kingdom, risking death to protect their subjects defines true courage for knights. Moreover, Knights aspire to uphold righteousness in every instance and maintain honor through their bravery. They are never to back down from a challenge but strive to do what is right even when the odds are against them. A brave knight fights with strategic intelligence as much as might, avoiding foolhardy actions that could potentially lead to defeat. The perfect image of bravery and courage found a place in Arthurian legends where King Arthur’s Knights of the Round Table were known for their bravery and incorruptibility. One such instance was when Sir Lancelot rescued Queen Guinevere after she was kidnapped by evil Mordred. One fascinating part of this legend portrayed Sir Lancelot fearlessly charging alone into Mordred’s army as he tried to escape with Queen Guinevere on his horseback. Sir Lancelot took on multiple mounted knights all at once and emerged victorious amidst arrows flying thickly all around him– it displayed incredible valor! True fans of chivalric literature understand that nobility does not only come from one’s birth or status in society but also revolves around one’s character – specifically displaying bravery in times of adversity. Being a knight in shining armor means putting others first, even if that means sacrificing your own happiness…or your Netflix password. Loyalty and selflessness One of the essential characteristics of a chivalrous gentleman is their steadfast faithfulness to their principles and unwavering commitment to serving others. They prioritize putting their beliefs into action by selflessly assisting those around them without expecting anything in return. In doing so, they inspire trust and admiration from those who cross their path. These qualities are best illustrated by the Knight in Shining Armor archetype, as depicted in medieval literature. Not only were these knights skilled warriors, but they also embodied the virtues of loyalty and selflessness through their unwavering devotion to their lord or lady and willingness to risk life and limb for their cause. Moreover, loyalty and selflessness are significant components of modern-day gentlemanly conduct. Regardless of social status or occupation, being reliable, dependable, and altruistic can elevate a man’s character and bring meaning to his life. Ultimately, it helps him become a pillar of strength that benefits his community. Pro Tip: Being loyal and putting others’ needs before one’s own may be challenging at times. Still, practicing these core values regularly can lead to personal growth as well as foster more profound connections with those around you. Knights may have been chivalrous, but where’s the representation for the dragons? #DragonLivesMatter Representation in Literature To understand representation in literature with the article titled ‘A Knight in Shining Armor,’ explore the three sub-sections – fairy tales, romantic novels, and modern adaptations. Each sub-section sheds light on how historical and cultural contexts influence literary representation. Fairy tales, also known as wonder tales, are traditional stories that typically involve magical creatures and events. They often contain morals or lessons and have been passed down through generations. These stories provide a window into the values and beliefs of different cultures throughout history. Fairy tales have undergone numerous adaptations and variations over time, from the well-known Brothers Grimm versions to modern retellings in popular media. Despite their fantasy elements, fairy tales often address real-world issues such as gender roles, social hierarchy, and morality. It is worth noting that some critics have pointed out problematic themes in certain fairy tales, such as sexism and racism. As with any literary work, it is important to analyze these stories critically and within their cultural context. To fully appreciate the impact of fairy tales on literature, it is essential to read them in conjunction with other works and examine their influence on subsequent stories and genres. By exploring the themes and motifs present in traditional fairy tales, writers can add depth and richness to their own works. For those interested in creating new fairy tales or adapting existing ones, it can be helpful to consider the underlying message of the story and how it can connect with contemporary audiences. Additionally, exploring different cultural variations of classic fairy tales can provide inspiration for fresh perspectives on timeless stories. Romantic novels are like love potions, except they only work on your heartstrings and not your actual love interest. Exploring the literary realm, one comes across works of art called “sentimental literature.” These types of novels are centered around themes of love and emotional appeal, portraying fictional characters’ romantic relationships. Captivating in their nature, sentimental novels became particularly popular during the Romantic era. Such works were characterized internally by a sentimental plot, where intense emotions and personal connections were concurrently portrayed alongside outside factors or events. With that said, Romantic literature displays key features that make them distinct. Authors use an extensive vocabulary to create scenes and settings that entice readers to state-of-the-art locations and enriching atmospheres. Often characterized by elevated language, these elements emerge as crucial aspects of the work’s aesthetic value. Moreover, narratives typically consist of a beginning- middle-structure leading to a surprising end. Reader interest in romantic literature grew significantly during the late eighteenth and early nineteenth century due to social change marked by industrialization and urbanization rates rising in Western Europe. Literary figures helped carve fiction into a new form identified with this period representing intellectuals’ interests despite relying on these mundane happenings. Nevertheless, the authors proved abundantly successful in touching hearts and crafting masterpieces through stories resonating with readership at personal levels. As history would have it, several British writers revolutionized sentimental fiction with their unique styles catering to contemporary audiences while being unafraid of experimentation and originality. Such names as Jane Austen who added carefully crafted stories full of sharp wit that critics still applaud today differentiated themselves from other authors with emphasis on story building more than pure expressionistic writing but not avoiding capturing language’s musical mood when needed- something too often taken for granted! Modern adaptations may as well come with a disclaimer: based loosely on the original work, so don’t get too attached to anything or anyone. With the rise of progressive ideas in today’s society, representation in literature has become a significant topic. In the modern era, adaptations of classic works aim to bring new characters and perspectives to life. These adaptations feature diverse casts and cater to underrepresented minorities, allowing readers from all backgrounds to find a voice in literature. The inclusion of diverse characters in modern adaptations allows readers to connect with them on a personal level, as they may identify with the character’s experiences and struggles. Modern adaptations also provide opportunities for authors to explore new ideas and themes that may have been taboo in previous years. Moreover, modern adaptations can help break down stereotypes by presenting characters who defy conventional norms. For instance, instead of presenting a typical love triangle between two men and a woman, the adaptation may feature three women or portray same-sex couples. Adaptations should be thoughtful while exploring such topics so as not to come off as pandering or disingenuous. Engagement from fans can also inspire more creators to push for more authentic representation that accurately depicts diverse groups’ experiences. By including different voices and perspectives in literary representations, we can encourage more diversity and understanding amongst people from various walks of life. It is essential to keep pushing for change within this industry so that more readers can feel represented through the stories that they read. Representation in literature is like a game of musical chairs, except some voices are left standing and others are permanently stuck in the corner. Role in Popular Culture To understand the role of a knight in popular culture, including in films and television shows, comics and graphic novels, and video games, you need to explore the sub-sections in more detail. Each medium has its unique take on the chivalrous, armor-clad warrior, and it’s fascinating to examine how these portrayals differ and overlap. Film and Television The impact of the entertainment industry contributes greatly to popular culture. Let’s explore how this field shapes our society through various forms of visual media. - Visual storytelling via cinema and television network programming. - Creation of accessible and dynamic characters through acting performances. - Development and establishment of new trends in fashion, language, etc., through representation on screen. - Shaping the general public’s perception of cultural norms and values through storylines and themes. - The creation of fan communities that cultivate a shared sense of identity through a particular show or movie franchise. - Inspiration for other artistic mediums, such as music videos, which feed into the audience’s taste in music. Moreover, film and television seemingly broadens its influence every year with technological innovations continuously providing fresh ways to experience stories. Do not miss out on the trailblazing evolution of entertainment. Keep up-to-date on pop culture influences via streaming services or your local cinema. In summary, though films and TV series are just forms of entertainment to some, their significance should not be understated in the shaping of our societal norms. Don’t get left behind! Comics are like the gateway drug of literature, only better because nobody judges you for it. Comics and Graphic Novels Graphic narratives, with their blend of visual and textual elements, have become a staple in popular culture. Comics and graphic novels are mediums of storytelling that use sequential art to narrate a story visually. These forms of media provide a unique opportunity to connect with audiences through images and words. The visual aspect of comics and graphic novels allows for more in-depth character development, plotlines, and conflicts. The illustrations can express what words often cannot convey while the text provides context for the images. This combination creates a rich storytelling experience unparalleled by any other medium. Comics and graphic novels showcase diverse topics such as science fiction, fantasy, horror, romance, memoirs, history, political satire, etc. This diversity caters to varying tastes and preferences in art styles and narratives. Creators continue to push the boundaries of the form by experimenting with new techniques such as digital art. Pro Tip: If you’re new to comics or graphic novels, start with notable works like Watchmen (Alan Moore), Maus (Art Spiegelman), Sandman (Neil Gaiman). Choose the genre you enjoy reading outside of comics or see which stories resonate with you personally most! Playing video games may not improve my role in popular culture, but at least I can pretend I’m a hero for a few hours. Video gaming has become an essential and ubiquitous aspect of popular culture. A Table highlighting key data on the usage and impact of video games in society would include columns such as Total number of gamers worldwide, Revenue generated by the gaming industry, Most popular video game genres played globally, and Impact on mental health and cognitive ability. These figures demonstrate how video gaming has established itself as a significant cultural phenomenon. A unique aspect of video games is their increasing use in education for teaching and training purposes, specifically in academic courses that value hands-on learning experiences. Studies have shown that simulations in video games seem to benefit students’ retention capacity and comprehension levels. True Fact: According to Statista, the global revenue from the video gaming industry surpassed $200 billion in 2020, with projected growth expected to exceed $274 billion by 2025. Even Shakespeare would struggle to interpret modern pop culture’s insatiable appetite for reboots and remakes. To gain a deeper understanding of modern interpretations of “A Knight in Shining Armor,” this section with “Modern Interpretations” with “Criticism of gender roles, Diversity and representation, Role in modern relationships” as a solution briefly explains the criticisms of gender roles, examines diversity and representation in the story, and investigates the role of the knight in modern relationships. Criticism of gender roles Reassessment of traditional gender roles has sparked criticism in modern society. Instead of adhering to societal expectations, individuals are pushing back against the rigidity of gender norms. Gender fluidity has become increasingly embraced and explored, resulting in more open-minded discussions surrounding the limitations that these roles impose upon personal expression and development. Moreover, the criticism against gender roles extends beyond solely addressing their binary nature. The intersectionality of different identities leads to an understanding that traditional gender roles are often entwined with harmful stereotypes and biases towards marginalized groups. This results in a failure to recognize and celebrate diversity, as well as create inclusivity for all individuals. It is important to note that this discourse is not new. Feminist movements have long challenged patriarchal constructs which serve to limit female potential under narrow definitions of femininity. However, the current climate sees a resurgence of these types of discussions with more voices being amplified than ever before. One example of this pushback can be seen in the rejection of gender-specific language in schools and workplaces. Using inclusive language allows for increased representation, respect, and community building amongst all individuals, regardless of identity. Ultimately, this reassessment and criticism of traditional gender roles represents a shift towards more equitable views on individual expression and societal acceptance. As we continue to recognize the limitations imposed by strict definitions and societal expectations, we can work towards creating an environment where all individuals can thrive without fear or hindrance due to their gender or other defining factors. Representation matters, but let’s be real, a few token characters in a show doesn’t make it diverse. Diversity and representation The contemporary world has brought about varied and inclusive perspectives in artistic interpretations. With a focus on representing a broad spectrum of cultures, races, genders and abilities, it’s important to ensure diversity and inclusion in all creative spheres. Artists are encouraged to represent people from diverse backgrounds through their work, promoting the idea that everyone deserves equal opportunities. By using their platform to showcase different human experiences and identities, artists can make art accessible and relatable for everyone. Incorporating inclusivity also helps create conversations around diversity and representation which can be impactful in challenging societal norms. To maintain this representation, artists could consider engaging with the community to learn more about their values, experiences and needs while creating art. Also, looking for places where underrepresented groups congregate can give guidance on what issues or stories need to be told. By including varied characters across different art mediums such as books, TV shows or films gives way for new narratives and enhances our understanding of complex human nature while reducing stereotypes. It is critical for creatives to leverage their talent by promoting diversity which is central in creating a society overly characterized by commonalities rather than differences. When it comes to modern relationships, I’m just grateful my grandparents aren’t around to see how soft we’ve gotten. Role in modern relationships Modern Interpretations and Its Impact on Relationships Today’s evolving society has seen a significant shift in the way interpersonal relationships are perceived and interpreted. With the rise of social media platforms, dating apps, and technology, people’s approach to communication and connection has dramatically changed. The modern interpretation of relationships is beyond the boundaries of physical presence or engagement; it encapsulates virtual reality. In recent years, social media channels have played a crucial role in defining relationships’ roles by enabling individuals to share their lives with others instantly. It leads to fostering deeper connections based on similar interests and offering an array of communication avenues other than traditional face-to-face meetings. Moreover, virtual dating apps like Tinder, Bumble, Match.com have revolutionized the modern dating game. They provide users with unique experiences that allow them to establish relationships from different geographical locations without compromising convenience or flexibility. The digital sphere’s growth aids the outcome of significant changes such as social distancing measures enforced worldwide due to COVID-19. People are increasingly utilizing video conferencing platforms to stay connected with loved ones even during restricted movement. Looks like chivalry isn’t dead, it’s just upgraded to wearing a highly-reflective suit. Conclusion: The enduring appeal of the “Knight in Shining Armor” The undying attractiveness of the chivalrous persona has kept the figure of the “Knight in Shining Armor” alive in literature and entertainment. The cultural significance of gallantry continues to fascinate readers and viewers around the world. With a potent combination of bravery, honor, and romance, Knights possess a sense of nobility that echoes throughout time. Knights’ enduring appeal can be traced through works ranging from medieval literature to modern-day movies. The image has been stamped as a symbol of hope, protection, loyalty, and sacrifice; persisting relentlessly in capturing hearts over centuries. Further perpetuating this charm is the portrayal of Knights as protectors or rescuers against female distresses such as damsel in distress, which provides greater impetus to their heroic character. These romanticized figures provide an escape for readers seeking an idealized version of love – one that is pure and eternal into happily ever after ending. One particular reason why knights continue to intrigue people in this modern digital era is because they embody traditional virtues deemed admirable by society ingrained since childhood – the emphasis on moral values like honesty and kindness inspires them to pursue ideals passionately. Shining examples have shown evident support for this enduring appeal; A notable fact reveals that over two million visitors each year travel to England’s Windsor Castle – home to one of their most famous knights i.e., Henry VIII. Frequently Asked Questions Q: What is a knight in shining armor? A: A knight in shining armor is a term used to describe a chivalrous man who is gallant and honorable. Q: Where did the idea of a knight in shining armor come from? A: The concept of a knight in shining armor dates back to medieval times when knights were revered as heroic figures. Q: What qualities are associated with a knight in shining armor? A: A knight in shining armor is seen as courageous, honorable, loyal, and chivalrous. He is also expected to be a skilled fighter and protector of the innocent. Q: Is the idea of a knight in shining armor still relevant today? A: While the concept of a knight in shining armor may seem outdated, the qualities associated with it are still admired and sought after by many individuals today. Q: Who are some famous examples of knights in shining armor? A: Some famous examples of knights in shining armor include King Arthur, Lancelot, and Galahad from Arthurian legend, as well as Sir Walter Raleigh and Sir Francis Drake from English history. Q: Can a woman be a knight in shining armor? A: While the traditional concept of a knight in shining armor is associated with men, women can exhibit the same qualities and be considered a knight in shining armor in modern times.

<urn:uuid:b981e8ab-e5eb-4ce4-9326-1dff3f349c94>

CC-MAIN-2023-40

https://americanpoliticnews.com/a-knight-in-shining-armor/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510924.74/warc/CC-MAIN-20231001173415-20231001203415-00488.warc.gz

en

This blog post is all about interesting facts about Berbers. The Berbers, also known as Amazigh people, are an indigenous ethnic group inhabiting North Africa. They have a rich history, unique cultural practices, and a deep connection to the land they call home. In this article, we will explore some fascinating facts about the Berbers that highlight their significance and contributions to the region. Interesting Facts about Berbers Berber 1. They Don’t Like Their Name In Berber culture, there is a sentiment among some individuals that they don’t like the name “Berber” that has been assigned to them. The term “Berber” was originally used by the ancient Greeks and Romans to refer to the indigenous people of North Africa. However, many Berbers prefer to identify themselves by their specific ethnic or tribal group names, such as Amazigh, Kabyle, Tuareg, or Riffian. These groups have distinct languages, cultures, and histories within the broader Berber framework. The resistance to the term “Berber” stems from a desire to emphasize the diverse identities and rich heritage of these various ethnic groups. They feel that the term has been imposed on them by outsiders and does not accurately reflect their unique cultural identities. Some individuals argue that the term has been used historically to marginalize or diminish the importance of Berber culture within the broader North African context. Despite this sentiment, the term “Berber” is still widely used in academic and general discourse to refer collectively to the indigenous peoples of North Africa who share common linguistic and cultural characteristics. It is important to respect the preferences of individuals who identify with specific ethnic or tribal names while also recognizing the broader Berber cultural identity that encompasses a wide range of groups. 2. They Were in the Region Before Arabs The Berber people have a rich history and a strong sense of indigenous identity in North Africa, having inhabited the region long before the arrival of Arabs. Berber history spans thousands of years, with evidence of their presence dating back to prehistoric times. They have deep connections to the land, culture, and traditions of North Africa. Prior to the Arab conquests of the 7th century, the Berbers had established various kingdoms and city-states across the region. These societies flourished and developed complex political structures, trade networks, and artistic expressions. Berber groups played a significant role in the broader Mediterranean world, engaging in commerce, forming alliances, and contributing to the cultural exchange of the time. With the Arab conquests, Islam was introduced to North Africa, and the Berber people gradually adopted the religion, assimilating it into their existing cultural practices. However, it is important to note that the process of Arabization varied across different regions and communities, and many Berber groups maintained their distinct languages, customs, and traditions. Today, Berber culture continues to thrive in North Africa, with Berber communities preserving their unique identities, languages, and cultural practices. The historical presence of the Berbers in the region is a testament to their resilience and their contribution to the diverse tapestry of North African heritage. 3. They Have Several Dialects Berber culture encompasses a wide range of dialects spoken by different ethnic groups across North Africa. These dialects belong to the Afro-Asiatic language family, and while they share some common features, they also exhibit significant variations. Each dialect reflects the distinct history, geographical location, and cultural influences of the Berber communities that speak them. Some of the major Berber dialects include Tamazight, Tashelhit, Kabyle, Rifian, and Tuareg. Tamazight is one of the most widely spoken Berber dialects and serves as a lingua franca among Berber populations. Tashelhit is predominantly spoken in southwestern Morocco, while Kabyle is spoken in the Kabylia region of Algeria. Rifian is spoken in the Rif region of northern Morocco, and Tuareg is primarily spoken by the nomadic Tuareg people across the Sahara Desert. The dialects of the Berber language are characterized by their unique phonetics, vocabulary, and grammatical structures. While efforts have been made to standardize and promote a unified written form of the Berber language known as “Neo-Tifinagh,” the oral dialects remain diverse and distinct. These dialects are not only a means of communication but also a reflection of the cultural identity and heritage of the Berber communities. They contribute to the richness and diversity of the Berber linguistic and cultural landscape, showcasing the resilience and adaptability of the Berber people over centuries. 4. They Have Unique Wedding Traditions Berber culture is known for its vibrant and distinctive wedding traditions, which vary across different regions and ethnic groups. Weddings hold significant social and cultural importance in Berber communities, symbolizing the union of families and the continuation of ancestral lineage. Berber wedding ceremonies often involve a series of rituals and festivities that can span several days. One common tradition is the “Henna Night,” where the bride’s hands and feet are intricately adorned with henna designs. This ritual is believed to bring blessings, protect against evil spirits, and symbolize fertility. Another prominent tradition is the “Ait Kamara” or “Imilchil Marriage Festival,” which takes place annually in the Atlas Mountains of Morocco. It is a gathering of Berber tribes where young people have the opportunity to meet potential partners. The festival includes lively celebrations, traditional music, dance, and colorful costumes, creating a vibrant atmosphere. During the wedding ceremony itself, various customs are observed. These can include the exchange of symbolic gifts, the reading of religious verses, the tying of knots to symbolize unity, and traditional dances performed by the bride and groom. Feasting on traditional Berber cuisine, such as couscous and tagine, is also an integral part of the celebration. Berber wedding traditions are steeped in history and cultural significance, providing a window into the community’s values, beliefs, and social structures. They serve as a reminder of the importance of preserving and honoring cultural heritage. 5. Most of Them are Mountain People The Berber people have a strong connection to the mountainous regions of North Africa, and many Berber communities are predominantly found in these areas. Mountains have shaped their way of life, culture, and resilience over centuries. The Atlas Mountains, extending across Morocco, Algeria, and Tunisia, are home to numerous Berber communities. These rugged and majestic landscapes provide fertile valleys, natural resources, and a sense of protection. Berber villages are nestled among the peaks, where traditional architectural styles blend harmoniously with the natural environment. Living in mountainous regions has influenced the livelihoods of the Berber people. Agriculture, especially the cultivation of crops like barley and olives, is a common occupation. Terraced fields are carved into the slopes, and irrigation systems channel water from mountain streams. Animal husbandry, including sheep and goats, is also prevalent, with Berbers being skilled in herding and transhumance practices. The mountainous terrain has not only shaped their livelihoods but also fostered a strong sense of community and cultural identity. Isolation and rugged landscapes have allowed Berber communities to maintain their distinct languages, customs, and traditions. The mountains have served as a refuge during times of political or social turmoil, allowing the Berbers to preserve their cultural heritage. The Berber people’s affinity for the mountains is reflected in their art, music, and folklore. Mountain motifs often feature prominently in their crafts and textiles, showcasing a deep appreciation for their natural surroundings. While not all Berbers live in mountainous regions, the significance of the mountains in Berber culture cannot be overstated. They are an integral part of the Berber identity, influencing their way of life and providing a sense of belonging to the land they call home. 6. Their Traditions and Holidays Are Very Intriguing The Berber culture is rich in traditions and holidays that have been passed down through generations, making it a fascinating aspect of their heritage. The Berber people have a strong sense of community and take great pride in preserving their cultural practices. Their traditions encompass various aspects of daily life, including clothing, music, dance, and even language. One notable holiday in Berber culture is the Amazigh New Year, known as “Yennayer.” Celebrated on January 12th, Yennayer marks the beginning of the agricultural calendar and is a time of renewal and reflection. Families gather to share traditional meals, exchange gifts, and engage in cultural activities such as storytelling and singing traditional songs. Another intriguing aspect of Berber culture is the Imilchil Marriage Festival, also known as “Souk Aam.” This festival brings together young men and women from different tribes to find potential life partners. It is a unique event where traditional matchmaking practices are observed, and participants showcase their cultural attire, jewelry, and dance. Furthermore, the Berber people have a deep reverence for their ancestral heritage. They celebrate various religious and spiritual festivals that are linked to their ancient beliefs and practices. These include the Feast of Sacrifice (Eid al-Adha), the Spring Festival (Id Alwan), and the Festival of Roses, among others. Each festival is marked by specific rituals, traditional foods, and vibrant cultural performances. Berber traditions also encompass rituals associated with significant life events such as births, weddings, and funerals. These ceremonies often involve communal participation, where the entire community comes together to support and celebrate these milestones. Overall, the Berber culture’s intriguing traditions and holidays offer a window into their deep-rooted connection to their ancestral heritage and their commitment to preserving their unique identity. 7. They Weren’t Treated Equally In the Past Throughout history, the Berber people have faced challenges and periods of inequality. The rich tapestry of Berber culture holds stories of resilience and perseverance in the face of historical hardships. The Berber people have a long and complex history, often marked by encounters with various civilizations and empires. Over time, they experienced political, social, and cultural marginalization under different ruling powers. Colonization by foreign powers, including the French and Spanish, had a significant impact on the Berber communities, leading to a suppression of their language, customs, and traditional practices. Despite these adversities, the Berber culture has managed to endure and retain its distinct identity. In recent years, there has been a revitalization of Berber culture, with increased recognition and appreciation for its contributions to the broader cultural landscape of North Africa. The Berber people have actively worked to reclaim their cultural heritage and assert their rights. Efforts to preserve and promote the Berber language, Tamazight, have gained momentum, with official recognition and inclusion in educational curricula. Additionally, Berber cultural festivals, such as the Timitar Festival in Morocco and the Festival of Amazigh Culture in Algeria, serve as platforms for celebrating and showcasing Berber arts, music, and traditions. Today, Berber culture continues to flourish, and the Berber people strive for equal rights, recognition, and representation. Their resilience and determination to reclaim their cultural identity have played a crucial role in ensuring the preservation and celebration of Berber heritage, serving as a source of inspiration for future generations. 8. They Have the Same Cuisines for Centuries The Berber culture boasts a culinary heritage that has remained remarkably unchanged for centuries. The traditional Berber cuisine reflects the rich bounty of North Africa’s diverse landscapes and the cultural practices of the Berber people. Berber cuisine is characterized by its simplicity, use of fresh ingredients, and reliance on traditional cooking methods. It often incorporates staple ingredients such as grains, legumes, vegetables, and aromatic spices. One of the most iconic dishes of Berber cuisine is couscous. Made from semolina wheat, couscous is typically prepared by steaming it over a flavorful stew of vegetables, meat, and aromatic spices. It is a staple dish in Berber households and is often enjoyed as a communal meal, bringing families and communities together. Another notable dish is tagine, a slow-cooked stew named after the earthenware pot in which it is cooked. Tagine is prepared using a combination of meat (such as lamb or chicken), vegetables, and a blend of spices. It is known for its rich flavors and tender, aromatic meat. Berber cuisine also incorporates a variety of flatbreads, such as msemen and harcha, which are enjoyed with meals or used as a base for sandwiches and snacks. Additionally, traditional Berber snacks include dates, almonds, and various preserved fruits. The Berber people’s close connection to nature is reflected in their cuisine, with an emphasis on foraged herbs, wild greens, and locally sourced ingredients. Fresh mint tea, known as “nana,” is a popular beverage in Berber culture and is often served as a gesture of hospitality. The preservation of traditional culinary practices in Berber culture is a testament to the deep-rooted connection between the people, the land, and their cultural heritage. Today, Berber cuisine continues to be cherished and shared, both within the local communities and with visitors who have the opportunity to savor the flavors of this ancient culinary tradition. 9. Tattoos Were a Part of Their Culture Tattoos have played a significant role in Berber culture, representing an important aspect of their identity and heritage. For centuries, tattoos have been used as a means of self-expression, cultural identification, and a marker of social status within Berber communities. In Berber culture, tattoos were not merely decorative; they held deep symbolic meaning and conveyed specific messages. They were often associated with rites of passage, such as coming of age, marriage, or mourning. Tattoos served as visual narratives, telling stories about one’s lineage, tribe, and personal experiences. The designs of Berber tattoos were intricate and varied, with each pattern representing different aspects of Berber life. Common motifs included geometric shapes, tribal symbols, and nature-inspired elements like flowers, leaves, and animals. These designs were etched onto the skin using natural dyes or pigments derived from plants or minerals, reflecting the close connection between the Berber people and their natural surroundings. Tattooing in Berber culture was traditionally performed by skilled female tattoo artists known as “mrazig.” These women held great respect and were considered guardians of the community’s cultural heritage. The tattooing process was often accompanied by rituals, prayers, and blessings, making it a sacred and communal experience. While the practice of traditional tattooing has declined in recent years, there has been a resurgence of interest and appreciation for Berber tattoo art. Many Berber individuals and communities strive to preserve this ancient tradition by showcasing their tattoos as a form of cultural expression and pride. Berber tattoos are not only a reflection of the individual’s personal history but also serve as a visual testament to the resilience and cultural continuity of the Berber people. They stand as a symbol of identity, heritage, and a reminder of the rich tapestry of Berber culture. 10. They Were Exceptional Horsemen Horse riding has deep historical and cultural significance in Berber culture. The Berber people have long been renowned for their exceptional horsemanship, which has played a crucial role in their wayof life, warfare, and cultural traditions. For centuries, the Berber people relied on horses as a means of transportation, both for daily activities and for traversing the challenging terrains of North Africa. Horses were essential for nomadic and semi-nomadic tribes, allowing them to navigate vast distances and adapt to the region’s diverse landscapes. Berber horsemanship was characterized by skill, agility, and a deep understanding of the horses’ behavior. From a young age, Berber children would learn to ride and care for horses, honing their equestrian abilities over time. They developed a unique bond with their horses, considering them as trusted companions and partners in their daily lives. Horses held immense cultural significance in Berber society. They were not only practical means of transportation but also integral to various ceremonies, celebrations, and rituals. Festivals such as Fantasia, also known as Tbourida, showcased the equestrian skills of Berber horsemen, with synchronized movements, precision, and displays of bravery. These performances demonstrated the unity and prowess of the Berber communities. Furthermore, horses played a crucial role in Berber warfare. Berber warriors, known as “Amazigh,” utilized their exceptional horsemanship skills to excel in battle. They were skilled cavalry riders, known for their agility, speed, and tactical maneuvers. The Berber cavalry played a significant role in historical conflicts and resistance against foreign invasions. Today, while the traditional nomadic lifestyle has evolved, Berber horsemanship remains an important aspect of their cultural heritage. Horseback riding continues to be a popular activity, attracting tourists who seek to experience the thrill of riding through the magnificent landscapes of the Atlas Mountains or the Sahara Desert. The exceptional horsemanship skills of the Berber people continue to be celebrated, preserving their cultural traditions and keeping alive the legacy of their ancestors. The bond between the Berber people and their horses represents a profound connection to their history, land, and the enduring spirit of Berber culture. Conclusion – Facts about Berbers In conclusion, exploring Berber culture is like embarking on a thrilling journey through vibrant traditions, mouthwatering cuisine, and captivating rituals. From the hidden gems of their unique dialects to the symbolic tattoos that tell stories of resilience, the Berber people proudly preserve their diverse heritage. Witness their exceptional horsemanship, savor the flavors of centuries-old cuisines, and immerse yourself in their warm hospitality. With its enchanting world and rich history, Berber culture offers an unforgettable experience, inviting you to embrace the hidden treasures of North Africa’s indigenous people. FAQs – Facts about Berbers What is Berber culture? Berber culture refers to the vibrant and diverse heritage of the indigenous Amazigh people in North Africa. It encompasses their traditions, art, language, architecture, and way of life. From the captivating mud-brick houses to the intricate designs adorning their textiles, every aspect reflects the deep-rooted history and customs that have shaped the Berber culture. Where can I experience Berber culture? To immerse yourself in Berber culture, you can visit Berber villages and towns, such as Ait Ben Haddou, where you’ll witness the ancient way of life in kasbahs. Marrakech offers a blend of historical charm and modern vibrancy, with riads showcasing traditional Moroccan architecture. For a nature escape, the Atlas Mountains provide eco-lodges where you can engage with local Berber communities and explore breathtaking landscapes. What are the main attractions in Berber culture? Berber culture offers a multitude of attractions. Jardin Majorelle in Marrakech is a stunning botanical garden, while the Saadian Tombs showcase beautifully decorated mausoleums. El Badi Palace allows you to step into the opulent world of sultans, and the Dar Si Said Museum exhibits Moroccan arts and crafts. Other notable attractions include the Menara Gardens, Ifrane National Park, Jemaa el-Fnaa square, Koutoubia Mosque, Hassan Tower, and the Ouzoud Waterfalls. What is the best time to visit Berber culture? The spring (March to May) and fall (September to November) seasons are ideal for visiting Berber culture. Spring offers pleasant weather, blooming flowers, and lush greenery. Fall provides cooler temperatures, making it comfortable for outdoor activities. Summers can be hot, but they are perfect for experiencing local festivals. Winter showcases snow-capped landscapes and offers a cozy ambiance in the mountains. How can I get to Berber culture? You can reach Berber culture by road, train, or air. Road trips allow you to explore scenic routes and make stops along the way. Train travel is possible to major cities like Marrakech and Fes, followed by road travel to Berber destinations. Airports like Marrakech Menara Airport and Fes-Saïss Airport serve as gateways to different regions, where you can arrange private transfers or taxis to reach your desired Berber destinations. What are some recommended places to stay in Berber culture? For an authentic experience, consider staying in a traditional riad in Marrakech, offering Moroccan architecture and personalized service. Kasbahs in Ait Ben Haddou provide a glimpse into ancient Berber life, while eco-lodges in the Atlas Mountains offer a serene nature retreat. These accommodations allow you to immerse yourself in the vibrant atmosphere of Berber culture and create unforgettable memories. What should I know before visiting Berber culture? Respect the local customs and traditions, dress modestly, and ask for permission before taking photographs. Learn a few basic phrases in the Berber language to show appreciation for the local culture. Be prepared for different infrastructure standards, especially in rural areas, and carry essentials like water, sunscreen, and insect repellent. Bargaining is common in markets, but remember to negotiate respectfully. Finally, be mindful of cultural gestures and actions, and accept a cup of mint tea when offered as a polite gesture. Next Available Trip local cuisine in a small group of 12-14 adventurers. Unforgettable memories await! - 15 Things To Do In Casablanca : Discover Hidden Gems (2023) - 10 Best Things To Do In Marrakech: Unforgettable Marrakech (2023) - Best Things To Do In Tangier : 17 Thrilling Adventures (2023) - 10 Unique Things To Do In Morocco: Unforgettable Experiences And Hidden Gems (2023) - Sahara Desert: All You Need To Know Before You Go! (2023) - 10 Best Hammams In Morocco You Can’t Miss (2023) - 11 Jaw-Dropping Examples Of Moroccan Architecture (2023) - A Complete Essaouira Travel Guide: History, Facts, Things To Do, How To Get (2023) - The Ultimate Chefchaouen Travel Guide: History, Facts, How To Reach, Best Time To Visit (2023) - 10 Must-Try Dishes In Morocco: Great Foodie’s Paradise (2023) - 15 Unforgettable Experiences: Things To Do In Fes (2023) - Best Time to Visit Morocco: A Month by Month Breakdown - Top 10 Festivals And Events In Morocco: A Cultural Extravaganza - Discover The 10 Best Riads In Morocco For An Unforgettable Escape (2023) - 10 Mind-Blowing Local Customs And Traditions In Morocco - Discover The 10 Majestic Royal Cities Of Morocco (2023) - 10 Essential Morocco Visa Requirements For Great And Hassle-Free Travel - Exquisite Traditional Moroccan Clothing Styles That Will Leave You Mesmerized! - The Ultimate Adventure In The Rif Mountains: 15 Thrilling Experiences (2023) - 15 Best Things To Do In Chefchaouen: Unforgettable Adventures (2023) - Best Things To Do In Rabat: 14 Epic Adventures (2023) - 10 Best Things To Do In Tetouan: Unleash A Great Wanderlust (2023) - Agadir Travel Guide: History, Facts, How To Reach, Best Time To Visit (2023) - Atlas Mountains: 10 Reasons To Visit Atlas Mountains (2023) - Shopaholic’s Delight: Uncovering The 10 Best Souks Of Morocco (2023) - 10 Interesting Facts About Berbers That Might Surprise You! - Best Medinas In Morocco That You Should Definitely Explore (2023) - The Ultimate Meknes Travel Guide: History, Facts, Things To Do, How To Reach (2023) - The Ultimate Ouarzazate Travel Guide: History, Facts, Things To Do, How To Reach (2023) - 13 Souvenirs To Buy From Morocco: Discover The Greatness Of Morocco (2023) - Discover The Top 10 Exquisite Moroccan Handicrafts That Will Mesmerize You - 9 Best Camel Treks In Morocco: Experience An Unforgettable Adventure (2023) - 10 Must-Try Dishes In Morocco: Great Foodie’s Paradise (2023)

<urn:uuid:6b9be48e-d7b5-4371-8d10-55a64ec1f211>

CC-MAIN-2023-40

https://oneintheorangejacket.com/facts-about-berbers/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510671.0/warc/CC-MAIN-20230930082033-20230930112033-00488.warc.gz

en

As Christians, we are constantly reminded of the rich history of our faith. One aspect of this history that often goes unnoticed is early Christian music. Recently, a team of scholars made an exciting discovery: what they believe to be the oldest Christian song in existence. The song was found on a papyrus fragment located at Oxford University’s Sackler Library and is believed to have been written sometime between 200-250 AD. It consists of Greek words with musical notation above them, indicating it was meant to be sung rather than simply spoken or read. “This is fascinating new evidence for the very early date of Christianity in Egypt and for the different cultural influences within Egyptian Christianity. The music itself is beautiful, as well as historically important. ” – Professor David Ganz from Oxford University The discovery raises interesting questions about how music played a role in early Christian worship and how much those practices may have evolved over time. Additionally, it highlights once again just how deep and layered the history of Christianity truly is. If you’re interested in learning more about this remarkable find, keep reading for details on what makes the newly-found song so special and how it was eventually identified by researchers after years spent overlooked in plain sight! What is the oldest Christian song in existence? The early Christians sang hymns and songs as part of their worship. However, it’s difficult to determine which Christian song is the oldest because many of them were not documented. One of the earliest known Christian songs is called “Phos Hilaron, ” also known as the “Hail Gladdening Light. ” This hymn has been sung in churches since at least the fourth century A. D. The Greek text describes Jesus Christ as “the holy light” that brings joy and salvation to humanity. Another ancient Christian hymn is known as the “Te Deum Laudamus. ” This Latin chant originated around 387 A. D. and was believed to have been written by St. Ambrose or St. Augustine. It praises God for his greatness and declares His majesty and glory. Saint Ephrem, who lived between 306-373 A. D. , wrote several hymns that are considered some of the oldest compositions still used in church today. He penned thousands of verses in about ninety different works covering a variety of liturgical themes such as baptism, repentance, virginity, feasts, etc. “The history of Christian music goes back to very far off times: we have no instrumentation surviving from when Christianity started; undoubtedly they developed some tunes on top of texts where there might be recitation or speaking — then over time became more elaborate. “ To sum up, there are various contenders for what could possibly qualify as Christianity’s oldest musical composition. While exact origins remain unknown, these historical pieces provide insight into how early followers worshipped through song and prayer. Uncovering the origins of early Christian music The history of Christian music remains a fascinating subject worldwide. One of the most pressing questions surrounding this genre is, “Which Christian song is the oldest?” This question has intrigued both historians and theologians for decades as they strive to uncover its accurate answer. Although there are differing opinions about which song holds this title, one suggestion is “Phos Hilaron, ” also known as “Hail Gladdening Light. ” It is an ancient hymn that dates back to at least the mid-third century AD. This hymn was discovered in a ninth-century Byzantine manuscript written on papyrus parchment. “Phos Hilaron” or “Hail Gladdening Light” can be considered one of the earliest examples of “Christian” liturgical chant dating back over seventeen centuries ago during early Christianity. “ This discovery makes it possible for historians to associate this lyric with earlier beginnings of developing real melodies in church songs, helping classify it into forms before large-scale spread through gospel books and other religious texts. In summary, Phos Hilaron’s emergence reflects how much time has passed since Christianity emerged from Judaism and paganism. The first Christians even used some Jewish tunes to form this celebratory composition dedicated to their worshiping God during vesper services towards evening twilight. How was early Christian music created and passed down? Early Christian music, just as any other kind of musical tradition from a religious or cultural group, began with oral transmission. It is believed that the oldest known Christian song dates back to around 200 A. D. , which makes it an incredibly old tradition still being practiced today. The creation of early Christian music involved taking existing melodies and rearranging them to fit new lyrics praising God or commemorating important religious events. Much like hymns in modern times, these songs were intended to help worshipers connect on an emotional level with their faith through communal singing. In terms of how this music was spread throughout communities, during the first few centuries after Christ’s death and resurrection there existed no standardized form of written sheet music for religious purposes. Instead, singers would learn the words and melodies orally as they attended church services where the songs were performed regularly. “According to historical records found thus far, the title belongs to “The Oxyrhynchus Hymn. ”” The importance placed on memorization also helped solidify consistency; without individual variations creeping into performances over time by those who could not read sheet music. Around 550 AD Pope Gregory I codified what we now know as Gregorian chant – named after him – which set standards for notation of religious choral repertoire going forward. Exploring the role of oral tradition and liturgical practices The question “Which Christian Song Is The Oldest?” can only be traced back to what was passed down through traditions and practices. Christianity has a long history that began with oral storytelling, before written texts were widely available. Oral traditions have played an essential role in preserving Christian teachings and beliefs over time. They allowed people without access to reading or writing materials to learn about their faith, its values, and principles from those who could recite them: fathers telling sons, mothers sharing stories during family gatherings or priests preaching sermons on important occasions. Liturgical practices like singing hymns also helped pass along these messages; ancient melodies served as mnemonics, making it easier for Christians to remember key aspects of their beliefs. These songs empowered communities by enabling every person attending church services to participate actively in worship regardless of literacy levels. “O Come O Come Emmanuel” is considered one of the oldest Christmas carols still popular today, tracing its roots back to the 8th century. ” This quote highlights how some songs’ origins may date centuries back. Whether discussing Christian hymns or other types of music within a religious context, understanding how these traditions help preserve information reveals much about faith’s continuity across generations while also offering insight into changes as they unfold across time periods. Discovering ancient manuscripts and musical notations The discovery of ancient Christian manuscripts has opened up new avenues for researchers to study the origins and development of Christian music. These manuscripts are written on parchment or papyrus, which have preserved them for centuries. “The oldest Christian song is likely ‘Phos Hilaron, ‘ a hymn still sung in Orthodox Vespers services today. It was composed before AD 200. “ In addition to textual evidence, scholars also examine musical notation found within these manuscripts. This notation provides insight into early Christian musical practices and helps recreate what these songs may have sounded like thousands of years ago. One example of this is the Aleppo Codex, a manuscript that contains Hebrew scripture as well as a section known as the Tiberian Masoretic Text. This text contains detailed musical symbols used to guide cantors in their singing during religious ceremonies. Another important source for understanding early Christian music is the Byzantine Empire’s liturgical chant tradition. The Eastern Church developed intricate melodies to enhance worship, which were later transcribed onto parchment. These chants provide valuable insights into both the structure and content of paschal hymns from this period.Overall, piecing together fragments of ancient texts can help us gain deeper insights into how Christianity evolved throughout history- including its religious music traditions – giving us an even richer appreciation for where we come from today! Who were the composers and performers of early Christian music? The earliest known Christian song is believed to be the “Oxyrhynchus hymn” from around 200 AD. However, there were likely many other songs composed and performed before this time. Early Christian music was primarily vocal, as instruments were not used in worship until much later. Famous early composers include St. Hildegard of Bingen, who lived from 1098-1179 and composed a large body of sacred works including chants and hymns. Another notable composer is Gregorio Allegri (1582-1655), who famously wrote the choral work “Miserere mei, Deus” that has been performed at the Vatican for centuries. Performers of early Christian music varied widely depending on location and context. In some cases, trained musicians such as monks or nuns would perform during church services or private devotions. Other times, non-professional singers would lead congregational singing or use call-and-response style performances with the rest of the congregation. “Early Christian music played an important role in religious life as it could inspire devotion and reinforce beliefs through shared experience. “ The influence of early Christian music can still be heard today in various forms of contemporary worship music as well as traditional settings like masses and choral concerts. Examining the influence of Jewish and Greco-Roman musical styles The history of Christian music goes back to biblical times, when various forms of worship were accompanied by different types of instruments. The mix of Jewish and Greco-Roman cultures played a significant role in shaping early Christian music. Jewish temple music consisted mainly of psalms and hymns, coupled with harps, lyres, and other stringed instruments. This tradition greatly influenced the development of early Christian liturgical chants, particularly those sung during Mass or prayer service. Greek culture also made its mark on early Christian music; for instance, using musical notes such as “alpha” and “omega, ” which are textually symbolic within worshippers’ religious beliefs. Many Early Christians learned how to read Greek adaptations so they could understand this meaning behind each symbol used in different songs. “Many documents discovered across several historical periods suggest that ‘Oxyrhynchus Papyrus LXXI 4B from ancient Egypt’ is believed to be the oldest Christian song. “ This might come as a surprise to many due to confusion historically about what can actually confirm if something is classed as ‘Christian’. However, after being examined thoroughly by historians examining lyrics combined with date composition alongside timeline-shifts between Jesus’s time and at least two generations later documents appeared during 1950′s and it was pinpointed down to Oxyrhynchus Papyrus LXXI 4B dating material firmly around fourth century B. C. Highlighting the contributions of notable figures such as St. Ambrose and St. Augustine When it comes to discussing ancient Christian music, two names that often come up are those of St. Ambrose and St. Augustine. These saints contributed greatly to the development of early Christian hymnody. St. Ambrose was a bishop in Milan during the 4th century who is credited with creating what became known as “Ambrosian Chant”. This style of singing involved simple melodies sung in unison by the congregation, with occasional solos or duets by trained singers. Meanwhile, St. Augustine wrote extensively on the role of music in worship and how it can be used to elevate one’s spiritual experience. He believed that music should not be mere entertainment, but rather a means through which people can connect more deeply with God. In his writings, he stated “For he who sings praise, does not only praise, but also praises joyfully; he who sings praise, not only sings, but also loves him whom he is singing about. “ Their works laid an important foundation for what would later become Gregorian chant and other forms of liturgical music throughout history. While we may never know exactly which Christian song is truly the oldest, looking at the contributions made by these notable figures helps us understand just how far back our musical traditions stretch within Christianity. What themes and messages did early Christian music convey? Early Christian music, also known as plainchant or plainsong, played a significant role in the development of Western classical music. It was mostly used for liturgical purposes in religious celebrations and held great spiritual significance in the worship of God. The themes and messages conveyed by early Christian music were rooted in biblical teachings such as repentance, redemption, salvation, praise to God, and the afterlife. The most common form of early Christian song is Gregorian chant. This type of music features simple melodies with one voice singing at a time without instrumental accompaniment. The lyrics are usually taken from Scripture or prayers recited during mass. One of the oldest surviving Christian songs is “Jesus Christ Is Risen Today, ” which dates back to the 14th century and was most likely composed in England. This hymn celebrates Jesus’ resurrection from the dead and reinforces belief in eternal life. “Sing, O heavens! Be joyful, O earth! And break forth into singing, O mountains!” – Isaiah 49:13 Other popular themes found in early Christian music include love for God and neighbor, thanksgiving for blessings received, hope in times of despair, and trust in divine providence. Many of these ideas are still relevant today and can be heard expressed through various modern forms of worship music.Overall, early Christian music served as a way to express faith to God while inspiring listeners towards deeper devotion through its beautiful melodies that transcended language barriers across cultures throughout history. Analyzing the use of biblical texts and theological concepts When it comes to Christian songs, many are inspired by or include passages from the Bible. The oldest known Christian song is believed to be “Phos Hilaron, ” also known as “Hail Gladdening Light. ” This hymn has roots in ancient Greek culture and was adapted by early Christians “Praise Him with timbrel and dance; Praise Him with stringed instruments and flutes! Praise Him with loud cymbals; Praise Him with clashing cymbals!” – Psalm 150:4-5 The Bible provides a wealth of inspiration for Christian music, whether through direct quotes or thematic elements such as salvation, forgiveness, love, and faith. Many modern songs draw heavily on Scripture references for their lyrics. Theological concepts also play an important role in Christian music. Concepts such as the Trinity, redemption, grace, and eternal life are central themes explored in numerous songs. These ideas not only provide lyrical content but also serve as reminders to listeners about fundamental aspects of their faith. In conclusion, analyzing biblical texts and theological concepts can give insight into the foundational beliefs that shape Christianity’s musical expressions. From classical hymns to contemporary worship music, these elements continue to inform the creative output of artists while reinforcing important spiritual messages. Identifying the music’s role in worship and religious expression Which Christian Song Is The Oldest? The oldest known Christian song is “Phos Hilaron, ” also called “Hail Gladdening Light. ” This hymn dates back to the 3rd century AD. It was originally written in Greek and has been used by numerous Christian communities throughout history. Musicians have played a crucial role in religious expression throughout history. Music has been an integral part of worship ceremonies for centuries, and it continues to be a vital aspect of spiritual traditions worldwide today. For example, Gregorian chants are among the earliest forms of Christian vocal music dating back to the medieval period (approx. 900 AD), while gospel songs and hymns originated from African American churches during slavery times. “Music is one way we can connect with our faith more intimately, express ourselves creatively as individuals or groups, help us experience God’s presence and enhance our meditation. “ Moreover, different kinds of music serve various roles within liturgy and worship depending on their style, historical context, cultural differences etc. From leading prayers through congregational singing to accompanying spiritual movements such as dance and others; its purposeful inclusion helps evoke emotions that inspire personal reflection on divinity amongst congregants who participate actively. In conclusion, music plays a fundamental role in many religions’ rituals worldwide, enabling people to engage spiritually with each other through divine expressions tailored towards specific believes passed down across generations. How has the oldest Christian song influenced modern music? The oldest known Christian hymn is believed to be “Phos Hilaron, ” also known as “Hail Gladdening Light. ” This fascinating piece of history dates back to the fourth century, making it over 1, 600 years old! Despite its ancient origins, this hymn continues to inspire contemporary musicians today. The haunting melody and timeless lyrics have been adapted into countless variations across a wide range of musical genres. “Phos Hilaron” truly embodies the power and beauty of religious music. Its enduring appeal speaks volumes about how much we still value tradition in our ever-changing world. Artists from all walks of life continue to draw inspiration from this iconic piece of Christian history. From symphonic orchestras to indie rock bands and everything in between, there’s no denying that “Phos Hilaron” remains an enduring classic even in the digital age. In short: although it’s undoubtedly one of the oldest songs around, “Phos Hilaron” remains as influential and inspiring today as ever before – and long may it continue to do so! Tracing the evolution of Christian musical traditions The history of Christian music is as vast and varied as the religion itself, spanning centuries and cultures across the globe. From the earliest hymns sung by Christians in ancient Rome to modern-day worship music that fills churches around the world, the evolution of Christian song reflects both changes in theology and shifts in cultural practices. One of the oldest surviving examples of Christian music comes from a collection of songs known as the Odes of Solomon, believed to have been written between 100-200 AD. These hymns were likely composed by early Syrian Christians and are characterized by their poetic language and celebration of Christ’s divinity. In medieval Europe, Gregorian chant emerged as a dominant form of Christian music. This style originated in monastic communities where monks would sing prayers together in unison. The plainchant melodies were without instrumental accompaniment, drawing attention instead to the text being sung. During the Protestant Reformation in the 16th century, new forms of religious expression emerged – including congregational singing with simple harmonies that could be easily learned. Hymnals became popular during this time, providing lyrics and sheet music for groups to sing together. “Of all the hymns ever written, ” said Charles Wesley (1707-1788), “I believe ‘Jesus Lover Of My Soul’ has been brought home to more hearts than any other; but occasionally one or another will rise above it. “ Today, countless genres of Christian music exist – from traditional gospel choirs to contemporary praise bands. Each generation brings its own sound and message to reflect its unique experience within Christianity’s long tradition. Examining contemporary interpretations and adaptations of early Christian music Early Christian music has a rich history that spans over thousands of years. With its roots in the Middle East, it has evolved to become one of the most recognizable genres of sacred music across the world. Today, there are various interpretations and adaptations of early Christian music by contemporary musicians that preserve its cultural and religious heritage while also making it more accessible for modern audiences. One example is the use of instruments such as guitars, drums, and pianos to accompany traditional hymns and chants. This fusion of old and new elements brings an added layer to familiar tunes, giving them a fresh interpretation without losing their original essence. In addition to these musical adaptations, many artists have taken inspiration from early Christian themes and messages to create entirely new compositions. Such songs often incorporate uplifting lyrics with catchy melodies that appeal to younger generations looking for faith-filled content outside of traditional gospel or worship music. “The oldest known recorded piece of Christian liturgical music was written around 1 AD, ” says Dr. David Wilmot, “a professor emeritus of sacred church music at Emmanuel College. “ Taking into account this long-standing tradition, it’s fascinating to see how ancient musical practices continue to influence contemporary Christian works today. No matter which songs we deem as the ‘oldest’, they all stand testament to the enduring power and significance of Christianity throughout human history. Where can I listen to the oldest Christian song? If you’re wondering which Christian song is the oldest, it’s difficult to give a single definitive answer. Generally speaking, scholars believe that some of the earliest Christian songs were hymns sung within Jewish and Gentile communities in the first century AD. That being said, one very early example of a Christian hymn – dating perhaps as far back as the second century AD – is known as the “Oxyrhynchus Hymn. “ This ancient piece was discovered on papyrus in 1918 by two British archaeologists who were excavating at Oxyrhynchus, an Egyptian city located about 100 miles southwest of Cairo. The text (which has been translated from Greek) reads: “Hail Mary full of grace, blessed art thou. Blessed Art thou amongst women for thou hast borne the saviour of our souls” This beautiful hymn attributed to Mary is believed to be one of the most primitive Christian hymns demonstrating religious cultic practices through its content. It is also considered probably to have been composed prior to A. D 250-280 To hear a rendition of this historic composition via youtube: click on Oxyrhynchus Hymn Song Uncovering rare recordings and performances of ancient Christian music The history of Christian music dates back to ancient times. Christians have been using melodies, chants, and hymns in worship for centuries. In the early days of Christianity, these songs were predominantly vocal rather than instrumental. They often included repeating melodies or chant-like phrases that could be easily learned and sung by anyone. “ One example is a song called “Oxyrhynchus Hymn, ” which was discovered on papyrus fragments in Egypt in 1918. It’s believed to date back to the third century and is considered one of the oldest known Christian hymns. “Let all mortal flesh keep silence” is another ancient Christian song that has stood the test of time. Its origins are unclear, but it’s thought to date back at least several hundred years. Many other ancient Christian songs exist today as sheet music or manuscripts. However, translating these pieces into modern notation can be tricky because they don’t follow traditional musical conventions. Despite this challenge, some musicians have taken up the task of reviving these old tunes. Listening to these performances can transport us across time and help connect us with our religious ancestors who also sang praises to God through melody and song. Exploring the role of museums and archives in preserving early Christian musical heritage Early Christianity has a rich history of music, with some songs dating back to as early as the 1st century AD. One such song is known as “Oxyrhynchus hymn, ” which was discovered on papyrus fragments from Egypt that are believed to be from around 300 AD. In order to preserve this valuable cultural heritage, museums and archives play an important role. They provide a safe space for ancient artifacts like musical instruments, manuscripts, recordings, and other documents related to early Christian music. Museums often display these items so that visitors can learn more about them and appreciate their value. Archives store original copies of sheet music or audio recordings of performances by famous composers or performers who played during the time when Christian music first emerged. “The preservation of our musical heritage enables us to understand our past better and gain deeper insights into what it means to be human. “ With new digital technology advancements, the digitization of old records makes access easier than ever before. This gives people interested in early Christian musicology access to primary sources through searchable online libraries like The Digital Library Database at Princeton University (music. princeton. edu/index. html). The importance of preserving Early-Christian culture cannot be overstated since many historians believe that church tradition contains lessons on how we should live today. Through museum exhibits and research in archives worldwide, scholars continue discovering hidden treasures connected to our shared cultural roots – all deeply transformative experiences grounded in Scripture! Frequently Asked Questions What is the history of Christian music? Christian music has been an integral part of religious worship since the early days of Christianity. In the early church, music was used to enhance the liturgy and to convey the teachings of the faith. Over time, Christian music evolved to include hymns, chants, and other forms of music that were used in worship. During the Middle Ages, Christian music was further developed through the work of composers such as Hildegard of Bingen and J. S. Bach. Today, Christian music continues to be an important part of worship for many Christians worldwide. What is the significance of the age of Christian music? The age of Christian music is significant because it represents the rich history of the faith and its evolution over time. The music of each era reflects the cultural and theological influences of its time, and it provides a window into the beliefs and practices of Christians throughout history. By studying the music of past generations, we can gain a deeper appreciation for the faith and the role that music has played in shaping it. How has Christian music evolved over time? Christian music has evolved in many ways over time. From the early chants of the church to the hymns of the Reformation, to the contemporary Christian music of today, each era has brought its own unique style and sound. The introduction of new instruments, such as the organ and the guitar, has also played a role in the evolution of Christian music. Today, Christian music encompasses a wide range of genres, including rock, pop, gospel, and hip hop. What role has Christian music played in worship throughout history? Christian music has played a central role in worship throughout history. It has been used to enhance the liturgy, to express the deep emotions of faith, and to teach the principles of Christianity. The music of each era reflects the beliefs and practices of the time, and it has helped to shape the faith of generations of Christians. Today, Christian music continues to be an important part of worship for many Christians around the world. What is the importance of preserving the oldest Christian songs? The oldest Christian songs are important because they represent the earliest expressions of the faith and the traditions that have been passed down through the centuries. By preserving these songs, we can gain a deeper understanding of the beliefs and practices of early Christians and how they have influenced the faith as we know it today. Additionally, these songs are a testament to the enduring power of music and its ability to connect us with our spiritual heritage.

<urn:uuid:97c69c42-4f05-4372-8eb5-3998be42873a>

CC-MAIN-2023-40

https://christianeducatorsacademy.com/revealed-the-oldest-christian-song-youve-never-heard-of/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510387.77/warc/CC-MAIN-20230928095004-20230928125004-00089.warc.gz

en

Advancing Towards a Greener Future: The Role of Technology in Promoting Healthy and Sustainable Living Environments The Role of Technology in Promoting Healthy and Sustainable Living Environments In today’s rapidly evolving world, technology plays a crucial role in shaping various aspects of our lives. One area where technology has the potential to make a significant impact is in promoting healthy and sustainable living environments. From smart homes to renewable energy solutions, technological advancements are driving positive change and paving the way for a more sustainable future. One of the key ways technology contributes to healthy living environments is through the concept of smart homes. Smart home systems integrate various devices and sensors to monitor and control energy usage, temperature, lighting, and security. These systems not only enhance convenience but also promote energy efficiency and reduce environmental impact. By optimizing energy consumption, smart homes help individuals reduce their carbon footprint while also saving on utility bills. Furthermore, technology enables the development of innovative solutions for waste management. With the rise of Internet of Things (IoT) devices, waste bins equipped with sensors can monitor their fill levels in real-time. This data can be used to optimize waste collection routes, reducing unnecessary trips and minimizing fuel consumption. Additionally, advanced recycling technologies are being developed that can efficiently sort different types of waste materials, making recycling processes more effective and sustainable. Renewable energy sources such as solar panels and wind turbines have gained significant traction in recent years. Technological advancements have made these sources more accessible and cost-effective. Solar panels can be installed on rooftops or integrated into building materials, providing clean energy while reducing reliance on fossil fuels. Similarly, wind turbines harness wind power to generate electricity without harmful emissions. These renewable energy solutions contribute to healthier living environments by reducing air pollution and combating climate change. Technology also plays a vital role in improving access to healthcare services in remote or underserved areas through telemedicine. With the help of video conferencing tools and remote monitoring devices, patients can consult with healthcare professionals from the comfort of their homes. This not only saves time but also reduces the need for unnecessary travel and associated carbon emissions. Telemedicine empowers individuals to take control of their health, promoting well-being while minimizing the environmental impact of healthcare systems. In addition to these examples, technological innovations continue to emerge in various other areas, including sustainable transportation, water management, and urban planning. Electric vehicles and efficient public transportation systems help reduce air pollution and congestion in cities. Water management technologies enable efficient usage and conservation of this valuable resource. Smart city initiatives leverage technology to create more sustainable urban environments by optimizing resource allocation, reducing energy consumption, and improving quality of life. While technology offers immense potential for promoting healthy and sustainable living environments, it is essential to ensure equitable access and address potential challenges. Bridging the digital divide and ensuring that technological advancements benefit all communities is crucial. Additionally, privacy concerns and data security must be carefully addressed to maintain trust in these technologies. In conclusion, technology has a transformative role in promoting healthy and sustainable living environments. From smart homes to renewable energy solutions, waste management innovations to telemedicine advancements, technology enables us to live more sustainably while prioritizing our health and well-being. Harnessing the power of technology alongside robust policies and community engagement can pave the way for a greener future that benefits both current and future generations. 6 Tips for Harnessing Technology to Foster Healthy and Sustainable Living Environments - Use technology to track energy use and identify ways to reduce consumption. - Leverage technology to create more efficient transportation systems, such as carpooling and bike-sharing programs. - Utilise technologies that promote the use of renewable energy sources, such as solar panels or wind turbines. - Take advantage of smart home devices that can help monitor air quality and water usage in order to improve sustainability in the home environment. - Invest in digital tools that can help monitor food waste and encourage sustainable food production practices. - Utilise social media platforms to spread awareness about environmental issues and promote green initiatives within your community or workplace Use technology to track energy use and identify ways to reduce consumption. In our quest for healthier and more sustainable living environments, technology offers us a valuable tool: the ability to track our energy usage and identify opportunities for reducing consumption. With the help of smart devices, energy monitoring systems, and intuitive apps, we can gain insights into our energy habits and make informed choices that benefit both our well-being and the planet. By using technology to track energy use, we gain a deeper understanding of how our daily activities impact our overall energy consumption. Smart meters, for instance, provide real-time data on electricity usage, allowing us to monitor fluctuations throughout the day. This information empowers us to identify patterns and pinpoint areas where energy is being wasted or used excessively. Once armed with this knowledge, we can take proactive steps to reduce our energy consumption. Technology helps by providing practical suggestions and customized recommendations tailored to our specific circumstances. Energy tracking apps can analyze data from smart devices and appliances in our homes, offering insights on how much energy each device consumes. Armed with this information, we can make conscious decisions about when and how we use these devices. For example, if the app reveals that a particular appliance consumes a significant amount of energy during peak hours, we may choose to run it during off-peak times or explore alternative energy-efficient options. Similarly, if the data shows that heating or cooling systems are responsible for high energy consumption, we can adjust temperature settings or invest in smart thermostats that optimize energy usage based on occupancy patterns. Moreover, technology enables us to set goals and track progress towards reducing our overall energy consumption. Many apps allow users to set targets for reducing their carbon footprint or lowering their monthly utility bills. By monitoring progress over time and receiving notifications or reminders about meeting these goals, individuals are motivated to adopt sustainable habits consistently. The benefits of using technology to track energy use extend beyond individual households. Communities can also leverage these tools to identify energy inefficiencies on a larger scale. Local governments and organizations can analyze aggregated data to identify areas with high energy consumption, leading to targeted initiatives and policies that promote sustainable practices. It is important to note that while technology provides valuable insights, the responsibility ultimately lies with us to take action. Armed with the knowledge gained from energy tracking tools, we must make conscious choices and implement energy-saving strategies in our daily lives. Simple actions like switching off lights when not in use, using energy-efficient appliances, or adopting renewable energy sources can collectively make a significant difference in reducing our carbon footprint. In conclusion, using technology to track energy use and identify ways to reduce consumption is a powerful step towards creating healthier and more sustainable living environments. By understanding our energy habits and making informed choices, we can minimize waste, lower our environmental impact, and contribute towards a greener future. Let us embrace the possibilities offered by technology and harness its potential for positive change in our pursuit of a sustainable lifestyle. Leverage technology to create more efficient transportation systems, such as carpooling and bike-sharing programs. Leveraging Technology for Efficient Transportation: Carpooling and Bike-Sharing Programs In our quest for healthier and more sustainable living environments, technology has proven to be a valuable ally. One effective way to promote this cause is by harnessing technology to create more efficient transportation systems. Carpooling and bike-sharing programs are two examples that have gained popularity in recent years, thanks to technological advancements. Carpooling, also known as ride-sharing, is a concept where multiple individuals share a single vehicle for their daily commute or travel needs. Technology has played a significant role in making carpooling more accessible and convenient. Dedicated apps and platforms connect drivers with potential passengers heading in the same direction, facilitating the coordination of rides. These platforms provide features like real-time tracking, secure payment options, and user reviews, ensuring a seamless and reliable experience. By encouraging carpooling, technology helps reduce traffic congestion, decrease air pollution from individual vehicles, and optimize the use of existing transportation infrastructure. Another innovative solution powered by technology is bike-sharing programs. These programs offer shared bicycles that can be rented for short-term use within urban areas. With the help of mobile apps or smart kiosks, users can locate available bikes nearby, unlock them using QR codes or Bluetooth connectivity, and pay for their usage. Bike-sharing programs promote sustainable transportation by providing an alternative to cars for short-distance trips. They not only reduce carbon emissions but also contribute to improved fitness levels and overall well-being. Technology enhances these transportation initiatives by providing essential features such as real-time availability updates, route planning assistance, and secure payment options. Moreover, data collected through these platforms can be analyzed to identify popular routes and peak usage times. This information enables authorities to optimize transportation infrastructure planning and make informed decisions regarding the allocation of resources. By leveraging technology for efficient transportation systems like carpooling and bike-sharing programs, we can address multiple challenges simultaneously – reducing traffic congestion, minimizing air pollution, and promoting healthier lifestyles. These initiatives not only benefit individuals but also contribute to the overall well-being of communities and the environment. However, it is important to ensure that these programs are accessible to all members of society. Efforts should be made to bridge the digital divide and cater to individuals who may not have access to smartphones or internet connectivity. Additionally, proper infrastructure and safety measures must be in place to encourage widespread adoption and ensure the well-being of participants. In conclusion, technology has revolutionized transportation systems by enabling efficient alternatives like carpooling and bike-sharing programs. By embracing these innovations, we can reduce our reliance on individual vehicles, decrease traffic congestion, improve air quality, and promote healthier lifestyles. As technology continues to advance, it is crucial that we seize these opportunities to create a more sustainable future for generations to come. Utilise technologies that promote the use of renewable energy sources, such as solar panels or wind turbines. Utilise Technologies for a Sustainable Future: Embrace Renewable Energy Sources In the quest for healthier and more sustainable living environments, one powerful tip stands out: harnessing technologies that promote the use of renewable energy sources. By embracing solar panels or wind turbines, we can make significant strides towards a greener future. Renewable energy sources have gained immense popularity in recent years, and for good reason. Solar panels convert sunlight into electricity, while wind turbines harness the power of wind to generate clean energy. These technologies provide an eco-friendly alternative to conventional energy sources, such as fossil fuels, which contribute to air pollution and climate change. By installing solar panels on rooftops or incorporating them into building materials, individuals and communities can tap into the abundant energy provided by the sun. Not only does this reduce reliance on non-renewable resources, but it also decreases carbon emissions and helps combat global warming. Moreover, solar power systems can be designed to store excess energy for later use or even feed it back into the grid, promoting a more efficient and resilient energy infrastructure. Similarly, wind turbines offer a sustainable solution for generating electricity. These towering structures capture the power of wind and convert it into usable energy. By embracing wind power technology, we can reduce our dependence on traditional power plants that emit harmful greenhouse gases. Wind farms are increasingly being established in both rural and coastal areas to take advantage of strong winds and contribute to cleaner energy production. Utilising renewable energy technologies not only benefits the environment but also has economic advantages. As these technologies become more accessible and affordable, individuals can save on electricity bills in the long run while contributing to a more sustainable grid system. Additionally, investing in renewable energy infrastructure creates job opportunities within this growing industry. However, it is important to note that adopting renewable energy technologies requires careful planning and consideration. Factors such as location suitability for solar panels or wind turbines need to be assessed along with any regulatory requirements or permits. Consulting with experts in the field can help ensure the optimal installation and integration of these technologies. As we strive for a healthier and more sustainable future, embracing renewable energy sources through technologies like solar panels and wind turbines is a crucial step. By harnessing the power of nature, we can reduce our carbon footprint, combat climate change, and create a cleaner environment for generations to come. Let us embrace these innovative solutions and pave the way towards a greener tomorrow. Take advantage of smart home devices that can help monitor air quality and water usage in order to improve sustainability in the home environment. Taking Advantage of Smart Home Devices for a Sustainable Home Environment In our quest to create healthier and more sustainable living environments, technology has emerged as a powerful ally. One valuable tip to promote sustainability within our homes is to take advantage of smart home devices that can monitor air quality and water usage. These devices not only provide convenience but also empower us to make informed decisions that positively impact both our health and the environment. One significant aspect of a sustainable home environment is maintaining good air quality. Poor air quality can have detrimental effects on our respiratory health and overall well-being. Smart home devices, such as air quality monitors, enable us to keep track of pollutants, allergens, and humidity levels in real-time. By having this information at our fingertips, we can take necessary steps to improve indoor air quality, such as adjusting ventilation systems or using air purifiers when needed. This not only promotes better health for ourselves and our families but also reduces the environmental impact associated with poor indoor air quality. Another crucial element of sustainability is responsible water usage. Water scarcity is a growing concern in many regions around the world. Smart home devices equipped with water monitoring sensors allow us to track water consumption patterns throughout our homes. By understanding how much water we use and where it is being used most, we can identify areas where conservation measures can be implemented effectively. This could involve fixing leaky faucets or installing water-efficient appliances. By reducing water waste, we contribute to the preservation of this precious resource while also lowering our utility bills. The beauty of smart home devices lies in their ability to provide real-time data and insights that empower us to make conscious choices about our environmental impact. By monitoring air quality and water usage through these devices, we become more aware of how our daily activities affect the planet’s well-being. In addition to personal benefits, embracing smart home technology for sustainability aligns with broader efforts towards a greener future. Collectively adopting these technologies can have a significant positive impact on the environment. By reducing energy consumption, conserving water, and improving air quality, we contribute to mitigating climate change and preserving natural resources for future generations. However, it is essential to approach the adoption of smart home devices with mindfulness. Consider factors such as device durability, energy efficiency, and data privacy when making purchasing decisions. Responsible consumption ensures that our efforts towards sustainability are holistic and sustainable in themselves. In conclusion, integrating smart home devices that monitor air quality and water usage into our daily lives is a simple yet effective way to promote sustainability within our homes. By being aware of the air we breathe and the water we consume, we can make conscious choices that positively impact both our health and the environment. Let us embrace technology as a tool for creating healthier, more sustainable living environments for ourselves and future generations. Invest in digital tools that can help monitor food waste and encourage sustainable food production practices. Invest in Digital Tools: Monitoring Food Waste and Encouraging Sustainable Food Production Practices In the quest for healthier and more sustainable living environments, technology continues to offer innovative solutions. One valuable tip is to invest in digital tools that can help monitor food waste and encourage sustainable food production practices. By harnessing the power of technology, we can make significant strides towards reducing waste, conserving resources, and promoting a more sustainable food system. Food waste is a global challenge that has far-reaching environmental and social implications. According to the Food and Agriculture Organization (FAO), approximately one-third of all food produced for human consumption is wasted each year. This wastage not only squanders valuable resources like water, land, and energy but also contributes to greenhouse gas emissions. Digital tools provide a powerful means to tackle this issue effectively. By utilizing smart sensors, data analytics, and artificial intelligence (AI), these tools can monitor food waste at various stages of the supply chain. From farm to fork, real-time data can be collected on factors such as storage conditions, expiry dates, and consumption patterns. For instance, smart refrigeration systems equipped with sensors can track temperature fluctuations in real-time. This helps ensure optimal storage conditions for perishable goods, reducing spoilage and extending their shelf life. Similarly, AI-powered algorithms can analyze purchasing patterns and predict consumer demand accurately. This enables businesses to better manage inventory levels, minimizing overstocking or understocking situations that often lead to food waste. Moreover, digital tools facilitate improved communication and collaboration among stakeholders in the food production chain. Farmers can access weather forecasting apps or soil monitoring systems to optimize irrigation schedules or determine the best time for planting crops. By making informed decisions based on accurate data insights, farmers can reduce water usage and minimize chemical inputs while maintaining high crop yields. Additionally, technology enables consumers to actively participate in reducing food waste through various applications. Meal planning apps help individuals organize their grocery shopping and cooking, reducing the likelihood of buying more than necessary. Some apps even provide recipe suggestions based on available ingredients, further minimizing food waste in households. Investing in digital tools that promote sustainable food production practices not only benefits the environment but also supports local economies and improves food security. By reducing waste, conserving resources, and optimizing production processes, we can create a more resilient and sustainable food system for future generations. In conclusion, technology offers valuable opportunities to address the challenges of food waste and promote sustainable food production practices. By investing in digital tools that monitor food waste and encourage efficient resource management, we can make significant progress towards achieving healthier and more sustainable living environments. Embracing these innovative solutions will not only benefit us individually but also contribute to a greener and more resilient planet as a whole. Utilise social media platforms to spread awareness about environmental issues and promote green initiatives within your community or workplace Utilise Social Media Platforms to Promote Green Initiatives and Raise Awareness about Environmental Issues In today’s digital age, social media platforms have become powerful tools for communication and information sharing. Harnessing the reach and influence of these platforms can play a significant role in promoting healthy and sustainable living environments. By utilizing social media, individuals, communities, and workplaces can raise awareness about environmental issues and inspire positive change through green initiatives. One of the key advantages of using social media is its ability to reach a wide audience quickly. Platforms like Facebook, Twitter, Instagram, and LinkedIn provide an opportunity to connect with people from diverse backgrounds who share a common interest in environmental sustainability. By creating engaging content that educates and inspires, individuals can spread awareness about pressing environmental issues such as climate change, pollution, deforestation, or plastic waste. Sharing informative articles, videos, infographics, or personal experiences related to environmental sustainability on social media can help spark conversations and encourage others to take action. It is essential to present information in an accessible and relatable manner to capture people’s attention effectively. By using compelling visuals or storytelling techniques, individuals can make complex environmental topics more understandable and engaging for their audience. Social media platforms also offer an excellent avenue for promoting green initiatives within communities or workplaces. Individuals can create dedicated pages or groups focused on sustainable living or eco-friendly practices. These online communities provide a space for like-minded individuals to share ideas, tips, and success stories related to sustainable living. Through social media events or challenges centered around eco-conscious actions such as reducing waste or adopting energy-saving habits, individuals can motivate others to join their efforts. Encouraging participants to share their progress using specific hashtags helps create a sense of community and fosters engagement. Moreover, social media allows individuals to connect with local businesses or organizations that are actively involved in promoting sustainability. By following these entities on social media platforms and sharing their initiatives with your network, you help amplify their message and support their cause. This collaboration between individuals, businesses, and organizations can lead to a more significant impact in driving sustainable change within communities. It is important to remember that social media is not only a platform for sharing information but also for fostering dialogue and building relationships. Engaging with your audience by responding to comments, answering questions, or initiating discussions can help create a sense of community and encourage others to actively participate in green initiatives. In conclusion, social media platforms offer an effective means to spread awareness about environmental issues and promote green initiatives within communities or workplaces. By utilizing these platforms, individuals can reach a wide audience, share informative content, inspire positive change, and foster a sense of community around sustainability. Let us leverage the power of social media to collectively work towards healthier and more sustainable living environments for ourselves and future generations.

<urn:uuid:57cbf9ad-6c4e-4e5b-8f6e-5d217bc765d1>

CC-MAIN-2023-40

https://cheresearch.org/uncategorized/the-role-of-technology-in-promoting-healthy-and-sustainable-living-environments/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506528.3/warc/CC-MAIN-20230923194908-20230923224908-00790.warc.gz

en

THIS SECTION IS UNDER CONSTRUCTION. The Museum's mission is to advance and share the experience and knowledge of what has happened in the past and what this has meant for Native peoples today; to preserve the memory of those who died or suffered; to offer comfort, support, encouragement and understanding; and to encourage its visitors to reflect upon the need for dignity of, and respect among all peoples. You are invited to explore this Virtual Museum at your leisure and visit us frequently. Introduction Career_Day Contemporary_Native_American_Issues Cultural_Racism My_Journey The_Amphitheater The_Designer The_Sacred_Trust Notes_on_Navajo History Racism_Institute Spanish_Poetry El_Cuartocentenario El_Inca_ Garcilaso_de_la_Vega The_Best_Is_Yet_To_Come Quotes And Material from Through White Men's Eyes: A Contribution to A Chronological Record of the Navaho People from Earliest Times to the Treaty of June 1, 1868, (Volume I), J. Lee Correll, Navajo Heritage Center, Window Rock, Arizona, 1979 (Six Volumes) and Navajo Stories of the Long Walk Period, Navajo Community College Press, Tsaile, Navajo Nation, Arizona, 1973. 1609 September 28 Spanish colonists at the first Spanish settlement in New Mexico, San Gabriel del Yunque, located between the Rio Grande and Chama Rivers, were ordered to remain at the site after they petitioned the Viceroy to permit them to return to New Spain (Mexico) because the harassing raids and constant thefts of their livestock by Navajos made life too hazardous for them. The settlement, however, was abandoned a short time later and moved to a more secure location where Santa Fe was founded. The first known documentary reference to Navajos (from the Tewa word Navabu, meaning large area of cultivated lands) as such was in 1626. During the Spanish and Mexican Periods, Navajos were referred to as "Apaches," "Apache-Navajos," or "Apaches de Navajo" more frequently than not. This occurred also during the American Period beginning in 1846 to some extent, and indeed, even today among the Chicano population occasionally one hears the Navajos referred to as "Apaches". Fray Gerônimo de Zárate- Salmerón, who went to Jemez as a missionary in 1622, and established the mission of San José at the pueblo of Giusewa, in his Relación of events in California and New Mexico from 1538 to 1626 wrote that one only had to go out by way of the river Zama [Chama]; and that past the nation of the Apache Indians of Navajü there is a very great river, [the Colorado or Bucena-Esperanza].... And that all was plain with good grasses and fields between the north and northwest; that it was fertile land, good and level ...The river sufficed for a guide. 1659 September 4 Governor Bernardo Lopez de Mendizábal (1659-1661) dispatched an army of 40 Spaniards and 800 Christian Indians commanded by Captain Juan Dominguez y Mendoza against the Navajos along the San Juan River (known as the Rio Grande at this time) for the purpose of laying waste their fields, destroying their power, and making captives. 1708 April 6 The governor wrote to the Duke of Albuquerque that the Navajo nation was continuously at war with the Moquis, but that they were at peace with the Zunis, where the Navajos ". . .always entered in peace." At this time the Rio Chama Valley was the principal path of entry for Navajo marauders striking at the pueblos in the Rio Arriba. 1747 August 12 On the west side of the Rio Grande adventuresome pioneers founded Abiquiu and Ojo Caliente, prior to 1747. In August of that year, both of these plazas were raided by the Utes and Navajos, and the survivors fled to places of safety. 1748 July 20 It was reported, relative to the condition of the Navajo country that, there had been a severe drought in the year 1748. An Indian who resided in the Province of Navajo for over a year arrived in Taos with a story of Navajo loss of crops. It was further reported that the Navajos, who numbered more than 2000, were at war with the Utes, that they held many slaves, and on occasion, visited the Jemez Indians. 1838 December 21 In a campaign against the Navajos, Captain Don Pedro Leon Lujan and his troopers attacked a Navajo rancheriá in the Arroyo de Tunicha east of the Tunicha Mountains. In his diary, Captain Luján recorded: ". . . I disposed to attack them which I did, making war upon them and giving them a tenacious and rapid fire until eight at night . . . In this engagement of Arms I succeeded in killing two warriors and a woman, capturing six little slaves of both sexes, taking 20 horses and mules, 40 hides and buckskins, 14 saddles, some 20 sacks of corn that were found and other loot." (Diary of Lujan, Dec. 8-25, 1838) 1848 October 15 On this date, the Republican reported: "The following is a correct list of the number of inhabitants of New Mexico, 1848, with the exception of the county of Valencia, which at present, the returns have not been handed in, but it is supposed that that county contains over 30,000 souls, including the civilized Indians. County of Taos 6,039 283 County of Rio Arriba 5,642 352 County of Santa Anna 1,917 1,987 County of Bernalillo 4,989 833 County of Bade 3,572 013 County of Santa Fe 5,992 590 Total so far as heard from 32,208" 1849 March 20 At Santa Fe, Orders were issued to the effect: "In consequence of the non- arrival of the troops designated for the ninth military department, and the limited force now present, it becomes necessary to raise an additional military force for the protection of the property and lives of the inhabitants of the territory of New Mexico against the depredations of the marauding bands of Indians which infest it. For the purpose specified above, the services of five volunteer companies will be received for six months, unless sooner discharged--three of the companies to be mounted... One mounted company will be raised in the Rio Arriba, and rendezvous at Don Fernández de Taos; one mounted company in the Rio Abajo, and rendezvous at Albuquerque, and one mounted and two foot companies at Santa Fe..." (Orders No. 2, March 20, 1849) 1851 September 17 Governor Calhoun wrote to Agent E. H. Wingfield on this date: The Navajo Indians are traveling in every direction through this Territory, committing murders and depredations. It is utterly unsafe to penetrate, in any direction, towards the localities of the wild Indians without an escort, or such other protection, and facilities as will secure safety and subsistence in traveling through wastes and uninhabited regions. (Calhoun to Wingfield, Sept. 17, 1851; Abel, 1915, pp. 426-427) 1851 September 20 From Taos, New Mexico, one Theodore D. Wheaton wrote Governor Calhoun: "I write this at the request of some 500 of the citizens of the counties of Taos and Rio Arriba, who are anxious to make a campaign against the Navajo Indians who have done, as you are well aware, infinite injury to the property and persons of the inhabitants of this Territory--The citizens of whom I refer labour under much difficulty for the want of arms, as most of them have but their bows and quivers of arrows and in this respect possess no advantage over the Indians; but unarmed as they are they are only waiting authority from your excellency to organize and do all in their power to repel these ruthless invaders from their land and to save their property and lives and prevent slavery and outrage from their wives and children..." (Wheaton to Calhoun, Sept. 20, 1851, Abel, 1915, pp. 427-428) 1863 December 8 On this date, the Rio Abajo Weekly Press published the following poem: Come dress your ranks my valiant First, and stand up in a row Kit Carson he is waiting to march against the foe, This day we march to Moqui--o'er lofty hills of snow To meet and crush the savage foe--bold Johnny Navajo. Chorus--Johnny Navajo--O Johnny Navajo. We'll first chastise, then civilize, bold Johnny Navajo. To the ladies of New Mexico whose hearts and albums too Bear sad remembrance of the wrongs the savage Indians do We bid a long farewell, the best recompense we know; Our absent dangers have their search in Johnny Navajo. Mexico's Independence from Spain Mexican War of 1846-1848, Treaty of Guadalupe Hidalgo, 02/02/1848 After the Americans came to Santa Fe, they protected the Mexicans because they were American citizens. The Navajos were not citizens and when they raided the Mexicans, American soldiers would come to the aid of the Mexicans. This was a puzzle to Manuelito because no soldiers ever came to the aid of the Navajos when the Mexicans raided the Navajos and stole their children. The raiding back and forth had been ongoing for centuries. On August 31, 1849, the Americans met with the headmen to explain that they were going to build forts and begin settling the land. The first fort the Americans built in Navajo country was Fort Defiance. The Navajos were ordered to keep their livestock away, but since there was no fencing that was impossible. One morning, the soldiers came out and shot all the Navajo livestock on the Fort premises. In February 1860, Manuelito led 500 warriors against the Army's horse herd which was grazing a few miles north of Fort Defiance in retaliation for the American soldiers killing their livestock. The Navajos suffered more than 30 casualties but captured only a few horses. During the following weeks, Manuelito and his ally Barboncito built up a force of more than 1000 Navajos and in the darkness of the early hours of April 30, 1860, they attacked Fort Defiance. They were determined to wipe it off the face of the land. When daylight came the Navajos retreated thinking they had taught the Americans a good lesson. The Americans considered it an act of war. A few weeks later, Colonel Edward Richard Sprigg Canby led 6 companies of cavalry and nine of infantry into the Chuska Mountains to attack the Navajos. A year of cat and mouse followed, with small skirmishes but no success on the part of the Americans. In January 1861, Manuelito, Barboncito, Herrero Grande, Armijo, Delgadito and other rico leaders agreed to meet Colonel Canby at the new Fort being built, Fort Fauntleroy (later changed to Fort Wingate). The leaders promised it was best to live in peace and promised to drive the ladrones from the tribe that were causing the problem. Peace lasted until September 22, 1861, at which time the Navajos felt they had been cheated during a horse race at the Fort by the soldiers. Navajos, women and children, were shot and bayoneted. After the massacre no Navajos were seen around the Fort. In the meantime, the Civil War was underway and there were battles near Santa Fe between the Confederacy and the Union Army, with the Union Army defeating the Confederates at Glorieta Pass. That being done, Brigadier General Carleton, Commander of the U.S. Army of New Mexico Territory turned his attention to the Navajos. He called the Navajo land, "a princely realm, a magnificent pastoral and mineral country." "The Navajos were wolves that run through the mountains and must be subdued." General Carleton turned his attention first to the Mescalero Apaches. His plan was to kill or capture them and imprison them on a worthless reservation along the Pecos River, leaving the rich Rio Grande Valley open for land claims and settlement by American citizens. In September 1862, he sent out an order: "There is to be no council held with the Indians, nor any talks. The men are to be slain whenever and wherever they can be found. The women and children may be taken as prisoners, but of course, they are not to be killed." The Mescalero chiefs submitted to Carleton's demand and took their people into imprisonment at Fort Sumner. In December 1862, several Navajo leaders traveled to Santa Fe to meet with General Carleton seeking peace. They were told unless they went to Fort Sumner there would be no peace. This the Navajos were unwilling to do. On June 23, 1863, General Carleton set a deadline for removal to Fort Sumner. He gave them until July 20 to turn themselves in. "After that day every Navajo that is seen will be considered as hostile and treated accordingly." No Navajos surrendered. General Carleton ordered Colonel Kit Carson to march his troops from the Mescalero country to Fort Wingate and prepare for a war against the Navajos. Carson was reluctant; he complained that he had volunteered to fight the Confederates, not Indians and he sent Carleton a letter of resignation. Kit Carson liked Indians. In the old days he had lived with them for days at a time. He had fathered a child with an Arapaho woman and lived with a Cheyenne woman. After marrying the daughter of a wealthy Spanish man though he wanted a place at the top so he withdrew his resignation. Kit Carson knew the only way to conquer the Navajos would be to destroy their crops and livestock, a scorched-earth policy. This is what he did, even burning the peach trees in Canyon de Chelly. On October 17, 1863, El Sordo (for his brother Delgadito) and Barboncito sued for peace. They had no food left. On January 6, 1864, the American soldiers entered Canyon de Chelly, the last stronghold of the Navajos. Though they had no major battles, they destroyed all Navajo property. The Navajos lost heart. As Manuelito said, "We fought for that country because we did not want to lose it. We lost nearly everything. The American nation is too powerful for us to fight. When we had to fight for a few days we felt fresh, but in a short time we were worn out and the soldiers starved us out." On February 21, Herrero Grande's band surrendered. Navajos were sent to Fort Sumner, the first group of 1,430 leaving March 13, 1864. A second group of 2400 left thereafter. The Long Walk was 250 miles. In April, Armijo surrendered. By September, only Manuelito's band had not surrendered. Those who escaped from Fort Sumner and got back reported that they were living like prairie dogs in burrows. Star Chief Carleton reported to Washington that Fort Sumner was "a fine reservation. There is no reason why they will not be the most happy and prosperous and well-provided for Indians in the United States... At all events … we can feed them cheaper than we can fight them." "These six thousand mouths must eat and these six thousand bodies must be clothed. When it is considered what a magnificent pastoral and mineral country they have surrendered to us, a country whose value can hardly be estimated, the mere pittance, in comparison, which must at once be given to support them sinks into insignificance as a price for their natural heritage." "The exodus of this whole people from the land of their fathers is not only an interesting but a touching sight. They have fought us gallantly for years on years; they have defended their mountains and their stupendous canyons with a heroism which any people might be proud to emulate; but when, at length, they found it was their destiny, too, as it had been that of their brethren, tribe after tribe, away back toward the rising of the sun, to give way to the insatiable progress of our race, they threw down their arms, and, are brave men entitled to our admiration and respect, have come to us with confidence in our magnanimity, and feeling that we are too powerful and too just a people to repay that confidence with meanness and neglect - feeling that having sacrificed to us their beautiful country, their homes, the associations of their lives, the scenes rendered classic in their traditions, we will not dole out to them a miser's pittance in return for what they know to be and what we know to be a princely realm." On September 1, 1866, Manuelito surrendered with twenty-three warriors. They were all in rags, their bodies emaciated. They still wore leather bands on their wrists for protection from the slaps of the bowstrings but they had no bows or arrows. One of Manuelito's arms hung useless at his side from a wound. Now there were no more war chiefs. Eighteen days after Manuelito surrendered, General Carleton was removed from command. For two years, the Government studied the situation trying to decide what to do - leave the Navajos there or send them to Oklahoma or let them return to part of their homeland. The new superintendent of Fort Sumner, A. B. Norton, pronounced the soil unfit for cultivation of grain because of the presence of alkali. "The water is black and brackish, scarcely bearable to the taste, and said by the Indians to be unhealthy, because one-fourth of their population have been swept off by disease. The reservation had cost the government millions of dollars. The sooner it is abandoned, Norton added, and the Indians removed, the better." General William Tecumseh Sherman was sent from Washington to conclude a treaty with the Navajos which was signed June 1, 1868, allowing the Navajos to return to their homeland. Not all of their land was restored but at least they would not go to Oklahoma. They received 1/4 of their original homeland - 3.5 million acres. Returns of Navajo Captives, November 1, 1867 "In compliance with instructions from the General Commanding, dated October 1867, the Indians have been turned over to Mr. Theodore H. Dodd, Indian Agent. Receipt dated November 1, 1867. The Military Indian Commissary is settling his accounts." The U. S. Presidents during this period were: James Buchanan: 1857-1861 Abraham Lincoln 1861-1865 Andrew Johnson 1865-1869 U.S. Grant 1869-1877 Quotes and material from Navajo Stories of the Long Walk Period, Navajo Community College Press, Tsaile, Navajo Nation, Arizona, 1973. Top of Page BEFORE FORT SUMNER Navajos were hunters and gatherers. They hunted for deer and used certain plants for food: sumac, pinon nuts, yucca fruit and chokeberries. Corn was planted annually. Other Neolithic man formed villages, centralized authority, assembled elaborate social and material cultures, planted crops and maintained herds – but not the Navajo - no villages, limited material possessions which could be packed and transported readily, self-reliant, independent. They fought with the Pueblos, the Hopis, the Zunis, the Comanches, the Utes, the Paiutes, the Spanish and the Anglos. RITA WHEELER (P. 75) Bows and arrows were not the most effective weapons. The spear was the best weapon used. It was a long spear with a very sharp point. A man could stick it right through the heart of an enemy or an animal. They were as good as guns. With them a lot of enemies were killed. About the whole bad period from before the Long Walk until they got settled back in their homeland, my ancestors said, "We suffered from everything, especially hunger. We ate just about all the birds there were, also bears and porcupines. Crows were about the only bird that couldn't be eaten. Some people tried it, but they said the meat was so bitter they couldn't swallow it." In one story, "They had been told by Manuelito not to take off one by one. They were rounded up by Manuelito and started on a journey to the Tohatchi Mountains because of the attacks from every direction by other tribes like the Pueblos, as well as the Mexicans. The enemies traveled in groups on horseback, and there would be as many as two hundred of them.” FRANCIS TOLEDO (P. 144) So Manuelito led his people to the base of the Tohatchi Mountains. There, he told the Dine to capture eagles for their feathers, and to gather lots of feathers, to make two bows each, and spears. "We will not be killed poorly; we will be considered dangerous," Manuelito said. The Dine did what they had been told. Each man had two bows and lots of arrows. Then Manuelito told them to hunt deer and not to lose a single piece of ligament because they were used to grease and make bows. When spring came, Manuelito told his people to make poison arrows. Snake blood was used, and the poison was put on the points of arrows. When the Dine were being attacked, they used their poison arrows. When an enemy was hit by one of the arrows his body would become swollen and he would not live long. That is why the Navajo were considered dangerous. My own grandfather, Only One Joint, still headed the family. He was a very brave man, the one who would travel great distances and could out-run horses. He kept the family well fed and he held it together. One time, upon his return home, he told the group that he had seen on his trip where people were gathering at Fort Defiance from all directions. Many leaders are there, and food is being distributed he said. I think we should go and get our share. The reason for the gathering and food distribution, according to my grandfather, was that the White Man said that all tribes had become our enemies, and that the White Man would help us survive. The journey to Fort Sumner never was mentioned until it was time to leave Fort Defiance. My ancestors didn't realize that they would be confined at Fort Defiance and that plans for the march to Fort Sumner had been made which they were not aware of at the time. CURLY TSO (p. 103) A majority of the Navajos didn't know the reason why they were being rounded up, and different stories went around among the people. There were reasons like: The government in Washington had ordered that all Navajos be rounded up and bunched together at Fort Defiance and then taken to Fort Sumner where they would be put to death eventually - killing them by means of subjecting them to different diseases, starvation and exposure, as well as using every other possible way to kill all of them. The government's reason seemed to be that the white people coming this way needed more land, and Navajos were scattered out too far and lived on some of the best lands; so in order to give the white people the lands, plans were made by the government to kill most of the Navajos and send the rest to Oklahoma or perhaps to round them up and force them to live close together like the Hopis. They were given coffee, sugar, flour, baking powder, salt and other ingredients. They did not know how to fix those things. HOWARD GORMAN (P. 31) When it seemed there was not a sign of any more Dine, they quit scouting around and reported back to their headquarters. They decided that more searching was useless. From Fort Defiance the Navajos started on their journey. That was in 1864. They headed for Fort Wingate first, and from there they started on their Long Walk. Women and children traveled on foot. That's why we call it the Long Walk. It was inhuman because the Navajos, if they got tired and couldn't continue to walk farther, were just shot down. Some wagons went along, but they were carrying army supplies, like clothes and food. Mules pulled the wagons. So the Navajos were not cared for. They had to keep walking all the time, day after day. They kept that up for about 18 or 19 days from Fort Wingate to Fort Sumner. On the journey the Navajos went through all kinds of hardships, like tiredness and having injuries. And, when those things happened, the people would hear gun shots in the rear. But they couldn't do anything about it. They just felt sorry for the ones being shot. Sometimes they would plead with the soldiers to let them go back and do something, but they were refused. This is how the story was told by my ancestors. It was said that their ancestors were on the Long Walk with their daughter, who was pregnant and about to give birth. Somewhere beyond Butterfly Mountain on this side of Belen, as it is called, south of Albuquerque, the daughter got tired and weak and couldn't keep up with the others or go any farther because of her condition. So my ancestors asked the Army to hold up for a while and to let the woman give birth. But the soldiers wouldn't do it. They forced my people to move on, saying they were getting behind the others. The soldiers told the parents that they had to leave their daughter behind. "Your daughter is not going to survive, anyway; sooner or later she is going to die, they said in their own language." ... Not long after they had moved on, they heard a gunshot from where they had been a short time ago. "Maybe we should go back and do something, or at least cover the body with dirt," one of them said. By that time one of the soldiers came riding up from the direction of the sound. He must have shot her to death. That's the way the story goes. These Navajos had done nothing wrong. For no reason they had been taken captive and driven to Fort Sumner. While that was going on, they were told nothing - not even what it was all about and for what reasons. The Army just rounded them up and herded them to the prison camp. Large numbers of Navajos made the journey. Some of them tried to escape. Those who did, and were caught, were shot and killed. The Navajos had hardly anything at that time; and they ate the rations but couldn't get used to them. Most of them got sick and had stomach trouble. Others died of starvation. MOSES DENEJOLIE (P. 243) The rest of the people were all driven to Fort Sumner. The U.S. Army surrounded them all the way. It was said that some Navajos starved to death during the long, tiresome journey. At the time of the Navajo roundup, some Dine got pretty weak, especially while on the Long Walk... The U.S. Army fed corn to its horses. Then, when the horses discharged undigested corn in their manure, the Dine would dig and poke in the manure to pick out the corn that had come back out. They could be seen poking around in every corral. They made the undigested corn into meal. Plenty of hot water was used with a very small amount of corn; and it was said that hot water was the strongest of all foods. At times, they would kill a rabbit or a rat. If a rat was killed, the meat, with the bones and intestines, would be chopped into pieces, and twelve persons would share the meat, bones and intestines of one rat. D.T. BEGAY (P. 217) While at Fort Sumner, the guards would give orders, herd the people around to make them work. At the same time, they would separate husbands and wives, and they would herd the women folk away and rape them, taking them by force. (Herbert Zahne) The Navajos were attacked twice by the Comanches. It was found that when a warrior of the Comanche tribe was killed, they never left the body there. They recovered the body and took it back with them. During the attacks two women at the back of the enemy battle line blew whistles, and then the enemies would attack our people heavily. The enemies' horses were highly decorated; so were the enemies themselves. They dressed in hides. Their shields were made of cowhide, which was hard and as slippery as ice. When the Navajos shot at them, the bullets would not go through, and arrows also would just fall back. As I said before, the Indians who attacked our people were highly decorated - with feathers and bells. The feathers and bells scared our people. Some almost fainted. The people begged to be sent home. The Dine held a special ceremony to seek guidance about whether they would be sent home. They believed the Coyote was an indicator of direction, so they caught a female Coyote. Barboncito told the Dine to stay calm and he approached the Coyote. When he walked up to it he made or did what is called the Put Bead in Coyote's Mouth ceremony. The Coyote was facing east. Barboncito caught the animal and put a piece of white shell, tapered at both ends, with a hole in the center, into its mouth. As he let the Coyote go free, she turned clockwise and walked off timidly, with her tail between her legs - toward the west. Barboncito commanded the Dine to make way for the Coyote, and they did. Once she had gone through the circle, the Coyote started running westward, and Barboncito remarked, "There it is, we'll be set free." Four days later the commanding officer asked the Dine if they really missed their country. The Dine responded noisily, "Yes, we miss our country very much and would like to go back." Soon after that, they were set free and walked back to Fort Defiance, Arizona. Many Navajo believe they would not have been set free but for the Coyote ceremony. There was one thing that isn't mentioned in the White Man's histories. A wooden post was put in the ground, and a billy goat was hit in the mid- section with a stick so that he struck the post repeatedly with his head and horns. I don't know how long this continued. But, after a while, the brains of the goat came out, and that's when they got through with him. Then the general turned to the Navajos and said, "Nowhere, at no time in the future, whatever you do, don't break this treaty. If you get in trouble with Washington or the U.S. Government again and do the things you should not do, that is what is going to happen to you people." POST FORT SUMNER They walked back to Fort Defiance, and rations were given to them, along with one - three sheep. Navajos began to live their old lives again. The goats they could get from the lands of the Mexicans with something that they had for exchange. They were also given iron hoes, shovels, picks and axes, and they were told to work with those tools on the land they once had. Children from each family were sent to school at different times, like a certain family would not send all its children at once, although they might all be of school age. Often, to prevent them being sent to school, parents would hide their children. I suppose that each family had its reason for wanting to keep children at home, like needing them to herd sheep and to help around the hogans. 1921 Oil discovered. 1923 Tribal Council formed. 12 delegates and alternates. 7/7/23 First Tribal Council meeting, Chee Dodge first Chairman. Chapters organized. First five Chairmen: Chee Dodge, Marcus Kanuho, Clah Cheschillige, Henry Taliman, Tom Dodge. Window Rock chosen for capital in 1935. 1933-36 Indian Sheep Reduction period - voluntary then compulsory. 1940-45 World War II. Code Talkers. 1950 Navajo-Hopi Rehabilitation Act - economic development. 1950 Funding for schools. (Chairman of the 50's Sam Ahkeah and Paul Jones) 1958 Navajo Forest Products Industries. 1959 Navajo Tribal Utility Authority. 1962 Utah Mining & Manufacturing coal lease granted. 1960's ONEO Office of Navajo Economic Opportunity. Continued economic development. 1968 Navajo Community College. 1969 Navajo Nation. 1974 Navajo-Hopi Land Settlement Act of 1974. 1995 Navajo Oil and Gas Company. Language - Navajo - Athabascan family Political Structure - Council. Consensus and collective decision-making. Clan system matrilineal. Man-nature relationship is one of harmony. Time sense is present oriented. Activity is focused on inner development. Law is based on mediation. Arts: storytelling, weaving, silversmith (jewelry making), music, dance, sandpainting (religion). © Yagniza, April 2001 All Rights Reserved

<urn:uuid:8862f61f-b643-44b1-99f1-56fbd09d0ffe>

CC-MAIN-2023-40

https://nahmus.org/notesnavajohistory.html

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506686.80/warc/CC-MAIN-20230925051501-20230925081501-00790.warc.gz

en

Let’s explore various educational activities for kids and how they can benefit children of all ages. When it comes to the education and development of children, hands-on activities are proven to be highly effective. By engaging in educational activities, kids not only have fun but also enhance their knowledge and skills in a meaningful way. From DIY projects to printables and interactive games, there are numerous options available for parents and educators to make learning engaging and enjoyable. Keep Reading to find out 25 Educational Activities for Kids! You might also like: - What is the importance of time? - What are the types of crafts? - What is the importance of art in your life? - 100 joys of life. - Why reading is important? - Parent tips. - Tips to Make Your Child Love Reading What are Educational Activities for Kids? Educational activities for kids are structured tasks or games designed to impart specific knowledge or skills. They can range from reading exercises and math problems to hands-on science experiments and interactive learning games, all aimed at enhancing a child’s understanding and cognitive development. 25 Hands On Educational Activities for Kids Who said learning can’t be a hands-on adventure? Dive into 25 activities that make textbooks envious and classrooms wish they had this much fun. Let’s get those little hands busy and brains buzzing with these Hands On Educational Activities for Kids! 1. DIY Volcano Eruption Create a homemade volcano using baking soda and vinegar. This fun science experiment teaches kids about chemical reactions in an interactive way. 2. Alphabet Playdough Mats Use playdough to form letters of the alphabet. This tactile activity helps younger kids recognize and learn their letters. 3. Nature Scavenger Hunt Take kids outside and let them explore nature. Provide a list of items for them to find, teaching them about different plants, animals, and natural phenomena. 4. Magnetic Word Building Using magnetic letters on a board, encourage kids to form words, enhancing their vocabulary and spelling skills. 5. DIY Constellation Viewer Poke holes in a cardboard tube to represent different constellations. When kids look through, they’ll see stars, fostering an interest in astronomy. 6. Planting Seeds Teach kids about botany by letting them plant and care for their own seeds, observing the growth process. 7. Water Xylophone Fill glasses with varying levels of water and tap them to make music. This activity introduces kids to sound waves and music. 8. Homemade Balance Scale Using household items, create a balance scale. Kids can learn about weight and measurement by comparing different objects. 9. Shadow Drawing Place toys or objects in sunlight and trace their shadows. This activity teaches kids about light and shadow. 10. DIY Sundial Teach kids to tell time using the sun with a homemade sundial, introducing them to ancient time-telling methods. 11. Floating Egg Experiment Place an egg in saltwater and watch it float. This experiment teaches kids about density in a hands-on manner. 12. Ice Excavation Freeze small toys in ice and let kids excavate them using droppers and warm water, teaching them about states of matter. 13. DIY Pulley System Create a simple pulley system using ropes and a wheel. This introduces kids to basic physics concepts. 14. Mirror Symmetry Painting Fold a paper in half, paint on one side, and press together. Kids learn about symmetry in a visually appealing way. 15. Homemade Barometer Using a jar, balloon, and straw, kids can create a barometer to learn about atmospheric pressure. 16. Feather Parachute Drop feathers and other objects from a height, teaching kids about gravity and air resistance. 17. DIY Kaleidoscope Create a kaleidoscope using mirrors and colorful beads, introducing kids to light reflection and patterns. 18. Sound Wave Experiment Using a spoon and string, kids can learn about how sound waves travel. 19. Static Electricity Butterfly Rub a balloon on your hair and watch paper butterflies “fly” towards it, teaching kids about static electricity. 20. Salt Crystal Leaves Grow salt crystals on leaves, teaching kids about crystallization in a visually stunning manner. 21. DIY Compass Using a needle, magnet, and a bowl of water, kids can create their own compass, learning about Earth’s magnetic field. 22. Paper Bridge Challenge Using only paper, challenge kids to build a bridge that can hold weight, teaching them about engineering principles. 23. Invisible Ink Messages Write secret messages using lemon juice and reveal them by heating the paper, introducing kids to basic chemistry. 24. Sink or Float Experiment Gather various objects and let kids predict whether they’ll sink or float in water, teaching them about buoyancy. 25. Color Mixing Lab Using primary colors, let kids mix and create new colors, teaching them about color theory in a hands-on way. These activities are designed to be both fun and educational, providing kids with hands-on experiences that enhance their understanding of various concepts. Educational Activities for Kids Who said learning can’t be a party? Dive into activities that make textbooks jealous and classrooms wish they were this cool. What are some fun learning activities for kids? Fun learning activities for kids can range from simple hands-on experiments to interactive games and puzzles. For younger children, activities like building blocks, sensory play, and color recognition games can help with their cognitive development. Older kids can engage in science experiments, coding activities, and math games to enhance their critical thinking and problem-solving abilities. How can you incorporate educational activities into playtime? Incorporating educational activities into playtime is a great way to make learning fun and engaging. For example, instead of traditional board games, opt for educational board games that focus on specific subjects like geography, mathematics, or language skills. You can also organize scavenger hunts that require kids to solve riddles or find hidden clues, encouraging their problem-solving skills while having fun. What are some DIY educational activities for kids? DIY educational activities are not only cost-effective but also allow children to learn in a hands-on manner. Building a volcano using baking soda and vinegar, creating a homemade musical instrument, or making a simple science experiment using household items are all excellent examples of DIY educational activities. These activities not only stimulate creativity but also help kids understand scientific concepts and improve their fine motor skills. Printable Fun Learning Activities for Kids Out with the old, in with the printable! Bring the joy of learning to your fingertips, one print at a time. Where can you find printable educational activities for kids? There are several websites and online platforms that offer printable educational activities for kids. Websites like Pinterest, Education.com, and Teachers Pay Teachers provide a wide range of free and paid printable resources for various subjects and age groups. Additionally, many educational publishers offer downloadable activity sheets and worksheets that can be printed at home. What are some popular printable activities for kids? Popular printable activities for kids include coloring pages, word searches, mazes, and crossword puzzles. These activities not only entertain children but also help them improve their concentration, problem-solving, and fine motor skills. Additionally, printable flashcards for learning letters, numbers, and sight words are widely used for early literacy development. How can printables enhance a child’s learning experience? Printables enhance a child’s learning experience by providing visual aids and hands-on activities that complement their learning journey. These resources can help reinforce concepts learned in school and provide additional practice for children. By engaging with printable activities, kids get the opportunity to reinforce their knowledge, improve their concentration, and develop essential skills independently. Lego Kid Activities Brick by brick, watch your child’s imagination soar higher than a Lego skyscraper. It’s not just building; it’s brain-building! What are some educational activities that can be done with Lego? Lego is a versatile educational tool that can be used for various learning activities. Children can engage in building challenges that promote creativity and problem-solving. They can also use Lego to learn math concepts like symmetry and geometry by creating symmetrical shapes or patterns. Additionally, Lego can be used to teach science-related concepts like simple machines or the properties of matter. How can playing with Lego benefit a child’s development? Playing with Lego can benefit a child’s development in multiple ways. It helps improve fine motor skills, hand-eye coordination, and spatial awareness as children manipulate the blocks and build structures. Lego also promotes creativity and imagination as children use their own ideas and designs. Furthermore, playing with Lego in a group setting encourages teamwork, communication, and collaboration. Are there any Lego sets specifically designed for educational purposes? Yes, there are several Lego sets specifically designed for educational purposes. These sets focus on subjects like science, technology, engineering, and mathematics (STEM). They come with specific building instructions and components that allow children to explore specific concepts in a structured and hands-on way. DIY Constellation children will love Stars in their eyes and constellations at their fingertips. Let’s turn bedtime stargazing into a daytime masterpiece. What educational activities involve learning about constellations? Learning about constellations can be a captivating educational activity for kids. Activities can include stargazing and identifying constellations in the night sky, creating constellation art using glow-in-the-dark stars or black construction paper, or even constructing a model of the night sky using toothpicks and marshmallows. These activities spark a child’s curiosity about space and improve their knowledge of astronomy. How can studying constellations spark a child’s curiosity? Studying constellations sparks a child’s curiosity by introducing them to the wonders of the universe. Learning about constellations encourages them to ask questions, seek answers, and explore beyond what they see in their everyday lives. It ignites their imagination and prompts them to discover more about our vast universe, fostering a lifelong love for learning and inquiring about the unknown. Are there any resources available to help kids learn about constellations? Yes, there are many resources available to help kids learn about constellations. Books, websites, and apps dedicated to astronomy and stargazing provide information about different constellations, their mythology, and tips for observing them. There are also interactive online tools that allow kids to explore the night sky and learn about the position and movement of stars and planets. Super Fun Alphabet and Sight Word Activities From A to Z and everything in between, we’re making words more fun than a game of Scrabble with a dictionary on the side. What are some fun ways to teach the alphabet and sight words? Teaching the alphabet and sight words can be made fun through various activities. Phonics games, alphabet puzzles, and letter scavenger hunts can engage children while enhancing their letter recognition skills. Creating sensory bins with letter-shaped objects and playing educational apps that make learning interactive and playful are also effective ways to teach the alphabet and sight words. How can learning the alphabet and sight words improve a child’s reading skills? Learning the alphabet and sight words forms the foundation for reading skills. By recognizing letters and their sounds, children are able to decode words and develop reading fluency. Sight words, which are commonly used words that don’t necessarily follow regular phonetic rules, help improve reading comprehension and speed. As children become more familiar with these words, they can focus on understanding the context of a text and better express their thoughts through reading. Are there any educational games or apps for learning the alphabet and sight words? Yes, there are numerous educational games and apps available for learning the alphabet and sight words. Apps like ABCmouse, Starfall, and TeachYourMonsterToRead offer interactive activities, songs, and games to teach letter recognition and sight word vocabulary. These apps make learning engaging and personalized, allowing children to progress at their own pace while having fun. Teaching Math Games with multiplication Worksheets Who knew multiplication could be this much fun? We’re turning times tables into terrific tales of triumph! What are some engaging math worksheets for kids? Engaging math worksheets for kids can include activities that involve counting, number recognition, basic operations, and problem-solving. Worksheets with colorful visuals, puzzles, and hands-on manipulatives can make learning math more exciting. Interactive worksheets that incorporate digital elements and gamification are also becoming popular among educators. How can worksheets assist in teaching various math concepts? Worksheets provide a structured and organized way to teach various math concepts. They help children practice and reinforce their understanding of different mathematical operations. Worksheets can be used to introduce new concepts, provide guided practice, and assess a child’s comprehension of math topics. They also allow parents and educators to track a child’s progress and identify areas that need further attention. Are there any online platforms that offer free math worksheets for kids? Yes, there are several online platforms that offer free math worksheets for kids. Websites like Math-Drills, Khan Academy, and Education.com provide a wide range of math worksheets for different grades and skill levels. These platforms offer printable worksheets, interactive exercises, and even personalized learning programs to cater to the individual needs of children. Exploring the World Map Pack your imaginary bags and put on your explorer hats! We’re going on a global adventure, no passport required. What educational activities can be done with a world map? A world map can be a gateway to endless educational activities. Children can learn about different countries, their cultures, and geographical features by exploring a map. Activities can include identifying continents and oceans, locating famous landmarks, planning imaginary trips, or even creating their own maps. Interactive map puzzles and country trivia games are also great ways to make map exploration entertaining. How can learning about geography enhance a child’s global awareness? Learning about geography enhances a child’s global awareness by building their knowledge and understanding of different cultures, environments, and societies. It helps children develop empathy, respect, and appreciation for the diversity of the world. By learning about different countries and their customs, children become more aware of global issues and the interconnectedness of our world, fostering a sense of global citizenship. How Can You Engage Your Kids with Educational Activities to Do at Home? Engaging your kids with fun educational activities to do at home is easier than you might think. From alphabet activities for preschoolers to crafty science experiments using household ingredients, there’s a plethora of fun ideas that kids will love. Flash cards, for instance, can make learning to read less stressful, while simple at-home science activities can turn your kitchen into a lab that kids will love exploring. What Are the Best Methods to Teach Your Kid Fundamental Concepts? The best methods to teach your kid fundamental concepts combine fun and learning. For younger kids, using simple games or flash cards can help develop their understanding of the letters of the alphabet or basic math. For a fun science twist, let kids erupt a homemade volcano or piece together a puzzle, which can also improve their cognitive skills. How Can a Feeder Become an Educational Tool for Kids? A feeder can be a fantastic educational tool for kids. By setting one up in your backyard, children learn about different bird species, their feeding habits, and migration patterns. It’s a real-time science activity that kids can also observe daily, making it an easy learning experience that they’ll love. What Are Some Engaging Ways to Teach Them the Basics of Math and Science? To teach kids the basics of math and science, consider fun educational activities like learning through playing games or using hands-on experiments. For instance, kids can learn about reactions by mixing household ingredients or understand number sequences by playing hopscotch, jumping from one foot to the next. Fun science experiments, like creating secret messages with lemon juice, can make kids feel like learning detectives. How Can Sidewalk Chalk Be Used as an Educational Resource? Sidewalk chalk is a versatile tool for fun and educational outdoor activities. Kids can practice writing the letters of the alphabet, draw diagrams for social studies, or even create life-sized number lines. Toddlers and preschoolers, in particular, love the hands-on nature of sidewalk chalk, and it can be used to craft secret messages or fun games that help develop their motor skills. Why Is It Important to Combine Play with Learning for Kids to Do at Home? Combining play with learning for kids to do at home makes education feel less like a chore and more like a fun adventure. When kids associate learning with positive experiences, they’re more likely to develop a love for education. Activities that merge fun and learning, like crafting or playing games, ensure that the child gets the most out of their at-home educational experiences. How Can Everyday Household Items Be Used to Teach Your Kid? Everyday household items can be transformed into fun educational tools that kids will love. For instance, measuring cups can teach preschoolers about volume, while flash cards made from scrap paper can assist in learning to read. Even crafty projects, like piecing together a collage from old magazines, can help your child understand themes in social studies or art. The key is to use these items in ways that make learning feel like a fun and natural part of their day. Frequently Asked Questions Here are some frequently Asked Questions about Educational Activities for Kids. Get all the answers you need! What are some fun educational activities for kids? Fun educational activities for kids include science experiments, nature walks, reading storybooks, playing educational games, and engaging in arts and crafts projects. What are the 5 learning activities? The five learning activities typically refer to reading, writing, discussion, problem-solving, and hands-on experimentation. What are good educational ideas? Good educational ideas encompass interactive lessons, real-world application projects, group discussions, field trips, and incorporating technology in teaching. What are fun grade R activities? Fun grade R activities include storytelling, singing songs, playing with building blocks, drawing, and engaging in imaginative play. What are examples of activity learning? Examples of activity learning include group projects, role-playing, simulations, debates, and hands-on lab experiments. What are the five active learning methods? The five active learning methods are problem-based learning, cooperative learning, peer instruction, case-based teaching, and simulations. What is a learning activity in a classroom? A learning activity in a classroom is any task or exercise that students participate in to acquire and apply knowledge or skills. What are learning activities in a lesson plan? Learning activities in a lesson plan are the specific tasks, exercises, discussions, or assignments that students will engage in to meet the lesson’s objectives. What are educational activities for kids? Educational activities for kids are tasks or games designed to teach them specific skills or knowledge, such as puzzles, reading exercises, or math problems. What are the five learning activities? The five learning activities often refer to group work, independent research, presentations, interactive sessions, and practical hands-on tasks. What are some home learning ideas? Some home learning ideas include reading books, cooking together, gardening, DIY science experiments, and online educational games. What is an educational activity? An educational activity is any task, game, or project designed to impart knowledge or develop a skill. What are the fun activities for Grade R? Fun activities for Grade R include finger painting, playing with playdough, listening to stories, and participating in movement games. What are teacher guided activities for Grade R? Teacher-guided activities for Grade R involve tasks where the teacher provides direction and support, such as reading aloud, guided drawing, or structured play sessions. What are the fun learning activities for kids? Fun learning activities for kids include puzzles, interactive games, treasure hunts, and hands-on science experiments. What is play in a Grade R classroom? Play in a Grade R classroom refers to unstructured or structured activities that allow children to explore, imagine, and learn through interaction and creativity. Wrapping Up Educational Activities for Kids In conclusion, Educational Activities for Kids are more than just a way to pass the time; they’re a bridge to knowledge, creativity, and growth. By integrating these Educational Activities for Kids into daily routines, we not only foster a love for learning but also equip our young ones with essential skills for the future. Remember, the best investment we can make is in the Educational Activities for Kids that shape their minds and imaginations. If you enjoyed this article about Educational Activities for Kids and would like to learn more, please leave a comment below.

<urn:uuid:aff3608a-d3b1-41da-bd34-721a56eaad5c>

CC-MAIN-2023-40

https://craftythinking.com/educational-activities-for-kids/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506676.95/warc/CC-MAIN-20230925015430-20230925045430-00691.warc.gz

en

Most people unintentionally know the meaning of this word. However, they don’t know the term for it, which is ‘Onomatopoeia.’ What Is Onomatopoeia? Onomatopoeia is when the pronunciation of a word ends up initiating its sound. The utterance of that word is reminiscent of the word’s sound. Most poets use Onomatopoeia for accessing the auditory sense of the reader, creating rich and beautiful soundscapes. This poetic device successfully deals with poetry and its wholesome sounds. But certain Onomatopoeic words can be used as interjections, However, the majority of the interjections don’t imitate sounds. There are moments when you will come across words like ‘Ugh,’ ‘Wow,’ and ‘Eek.’ Avoid getting confused here because these words don’t represent Onomatopoeic sounds. These words express a sudden outburst of emotions instead of a specific sound. Here, you identify these words as exclamations and interjections. Onomatopoeia vs. Phanopoeia Phanopoeia consists of a literary device where the general sensation of a certain thing tends to be emulated. Here, the sounds of words that the author uses are emulated. Let us better demonstrate this with an iconic poem by Franz Wright. Look out for the bold words to identify Phanopoeia. Heaven, I lived as a monster, my only hope is to die like a child. In the otherwise vacant and seemingly ceilingless vastness of a snowlit Boston church, a voice said: I can do that–if you ask me, I will do it for you. Did you notice the spaciousness present in the stanza breaks of the poem and the repetitive ‘S’ sounds? They resemble the echoing sounds in an empty church. Here, the reader gets to experience the church’s vastness via stanza breaks and alliteration. The spacious and sonic quality of the poem enables the readers to delve into the narration and never leave. Examples of Onomatopoeia - The boing sound of spring. - Chalkboard erasers and their claps. - The pitter-patter sounds that sound like tiny footsteps when rain falls on the pavement. Onomatopoeic words end up enhancing a poem or story’s imagery in writing. To be technical, Onomatopoeia isn’t a form of auditory imagery. It’s because auditory imagery refers to the usage of figurative language, such as metaphors and similes, for describing sounds. But onomatopoeic words can definitely complement the auditory imagery since both devices elevate the work’s sonic qualities. All onomatopoeic words aren’t mentioned in the dictionary. Most authors choose to come up with their own unique sounds to complement their writing. You can identify the onomatopoeic words in bold. Examples in Literature Let us look at the wordplay of Onomatopoeia in literary examples: - The bacon sizzled to perfection on the frying pan. - My phone buzzed as soon as I thought of her. - I woke up to the pleasant chirping sounds of lovebirds. - The water splashed all over us as he dived into the pool. - Asiatic Lions growls like a sinister beast straight up from a movie. - He slammed the brakes, and the tires screeched. It was a close call. - The blast let out a loud Boom! - Thank God! I clicked my mouse at the right time. This Black Friday discount is unreal. - ‘Ugh,’ I don’t want to work in this environment anymore. - The leaves rustled as the snake made its way toward the creek. - Ding, Dong, and the doorbell rang as she was still busy cooking. Alas! the guests have arrived too soon. - The ball viciously smacked her right in the face. It let out a loud POW! - Vroom, Vroom! the engine has finally started. - Excess salvia dripped from the dog’s mouth. It was clear that it had Rabies. - The snake hissed viciously as I caught its sight. Examples in Movies Onomatopoeic words are very much present in movies as well. Here are some of our favorites, which you will also love: - “And like that, Poof, he is gone.” – This line comes from “The Usual Suspects.’ - “Pity about poor Catherine, though. Tick-tock, Tick-tock.” – This sinister line was said by Hannibal Lector from the suspense-filled thriller film ‘Silence of the Lambs.” - “Ding-dong the witch is dead!” – Who doesn’t remember this hilarious script from ‘The Wizard of Oz’? - “Pow!” The Joker, making an explosion sound before blowing up a hospital.” – Yes! it comes from “The Dark Knight.” Examples in Poems The Highwayman – Alfred Noyes “Over the cobbles, he clattered and clashed in the dark inn-yard, He tapped with his whip on the shutters, but all was locked and barred.” The Bells – Edgar Allan Poe How they clang, and clash, and roar! What a horror they outpour On the bosom of the palpitating air! Yet the ear it fully knows, By the twanging And the clanging The Tempest, Act 3, Scene 2 – William Shakespeare “Sometimes a thousand twanging instruments Will hum about mine ears, and sometimes voices.” Morte D’Arthur – Alfred Lord Tennyson “And answer made the bold Sir Bedivere: “I heard the ripple washing in the reeds, And the wild water lapping on the crag.” Henry V, Act 3, Scene 1 – William Shakespeare “But when the blast of wars blows in our ears” Honkey Tonk in Cleveland – Carl Sandburg “It’s a jazz affair, drum crashes and cornet razzes. The trombone pony neighs, and the tuba jackass snorts.” The Pied Piper of Hamelin – Robert Browning “There was a rustling that seemed like a bustling Of merry crowds justling at pitching and hustling, Small feet were pattering, wooden shoes clattering, Little hands clapping and little tongues chattering, And, like fowls in a farmyard when barley is scattering.” Onomatopoeia Words List - Ping Pong - Pitter Patter - Clip Clop - Cock a doodle doo - Lub Dub - Ding Dong How to Use Onomatopoeia Onomatopoeia can be incorporated into different writing styles, but one shouldn’t abuse its usage. Are you interested in using it for a nonfiction book? a short book? or are you writing a novel? Regardless, we will be guiding you throughout the process of using it correctly. Its misuse would result in poor and funny writing. Here are two key components that you need to be aware of: - Creating a scene involving sounds. - Making up a word or using one that ends up imitating the sound. Example #1 – The Vegetables sizzled on the hot pan. Here, the word ‘Sizzled’ has the letters ‘S’ and ‘Z.’ These letters tend to mimic the wat your meal cooks on the pan or skillet. Sizzled tends to sound like sizzling. Hence, that’s how we identify it as an onomatopoeic word. Example #2 – I have shushed them a thousand times, but they still won’t listen. All this chattering isn’t allowing me to watch the movie. The word ‘Shushed’ is used to tell someone to keep quiet or to lower their voice. It’s a reflection of how you tell someone to hush by placing your index finger on your lips and blowing air, creating that ‘Shh’ sound. Example #3 – The car screeched as it started spinning out of control. It let out a loud ‘Kablam‘ sound as it hit the wall. We can notice the wordplay here with the bold words. It describes the sentence in a dynamic and powerful tone. Example #4 – I Crunched the popcorn with my own barehand. Did you notice the two Onomatopoeic words here? The word ‘Crunched’ has the letters ‘C’ and ‘Ch’ that describe a crunching sound. A popping sound can also be heard with the word ‘Pop’ in popcorn. This combination works effectively to provide an excellent sensory experience for the readers. Example #5 – The egg sizzled on the pan as I cracked it open. Here, we can hear the cracking and sizzling sound of an egg in the word ‘Cracked’ and ‘Sizzled,’ respectively. The first two letters, ‘Cr’ gives us the sensory experience of something cracking. Example #6 – She yelled ‘Get Back Here’ and snapped her fingers. The word ‘Snapped’ is a past tense of ‘Snap,’ which is similar to ‘Pop.’ We can easily identify this as the sound made while snapping our fingers. This onomatopoeic word gives a quick and clipped feel to the reader. Example #7 – The church bells began clanging at 12 noon. The word ‘Clanging’ is a perfect Onomatopoeic example because it creates the right impact with its syllables. Bells make a clanging voice whenever they come in contact with one another. Here, we come across the tangy ‘ang’ and hard ‘C’ sounds. They come together to create the sound of a metal that’s reverberating. Purpose of Onomatopoeia This includes everything from brooks that babble to cats that meow. In Onomatopoeia, the way a word sounds certainly bears a relation to what they mean. We even use words like ‘Tik-Tik’ to describe the iPhone keyboard sound while typing a message. New sounds are always going to appear as long as human beings have sensory organs. Let us take some other fun simple examples: - Don’t forget to zip your pants before you leave for work in the morning. - Your phone automatically pings upon receiving new mail. - Can I ping you later after work? Does that sound good to you? - I can’t help but giggle at the work meme that my co-worker just shared now. - Freddy is busy making coffee. Meanwhile, you can munch on this chocolate chip cookie and avocado toast. Onomatopoeia does an excellent job of bringing poetry and prose to life. This statement is evident from the loudest ‘crashes and booms’ to the quietest ‘hums and peeps.’ Hence, Onomatopoeia is heavily used in creative writing for describing many things. It’s because Onomatopoeic words are more expressive than technical. The Best Time to Use Onomatopoeic Words You can intentionally use this literary device in any of the following situations: For Creative Reasons Creative writing is the home for Onomatopoeic words. If you are writing nonfiction books, short stories, and novels, then Onomatopoeia is needed here. Technical and academic writing doesn’t require these usages because imagery should be minimal in these fields. However, don’t fully eradicate its use in these fields because you wouldn’t want your piece to sound robotic and bland. If you find a word that perfectly describes the point or picture that you are trying to get across, then use it. Yes, even if they are onomatopoeic in nature. For a Little Flare If you description requires a little spice or something extra, then Onomatopoeia can be used. It helps in adding both dimension and texture to your pieces. Let us explain this with these sentences: - Without Onomatopoeia – The cat was hungry. I could tell from its sound. - With Onomatopoeia – The cat was hungry. I could tell from its meowing sound. Alternative for ‘Said’ Onomatopoeic words are also used as a substitute for the word ‘Said.’ It’s convenient, especially when you want to avoid overusing basic verbs such as ‘walk’ and jump.’ It will help you in smoothly conveying your story to grab the attention of your audience. Onomatopoeia helps to replace strong verbs and still sounds just as fun and engaging. Problems In Using Onomatopoeia One of the main concerns with onomatopoeia is overusing it. Whenever we are describing a scene, it’s imperative for us to include all 5 senses. The key is to let our readers to be fully engaged and not just see it. They must use all of their sensory organs to experience the piece that they are reading. Its overuse stems from multiple one-word sentences and interjections. It will hinder your writing pace and push the reader’s attention out of the story. Repetitions calls for cliche-ness, so it’s crucial to be aware of that. Another issue with Onomatopoeia is word choice. Your choice of words must match the genre, targeted age group, and tone of your book. Onomatopoeia interjections are usually used in young adult and middle school fiction. Here, the diction should be easy and simple to read for these young readers who lack an advanced set of vocabulary. But Onomatopoeia words aren’t just geared toward young folks, and you should be mindful of your word choices. The tone of the writing style and word choices should complement each other. For example, the Onomatopoeia word ‘Plop’ goes well with informal, comedic writing and contemporary scenes. More Onomatopoeia Examples Here are some sentence examples for you to get a better grip on the topic: - My dog barked at the black van. It looked awfully suspicious. - The house mice squeaked as they ran across the living room. - We were woken up by a loud thud on the front door. - I sizzled my vegan sausages on the new skillet that I bought at the mart. - Everything went dark after that loud bang. - The dam broke, and water began gushing out from everywhere. - My dog instantly runs to the snap of my fingers. - The owl hooted throughout the night. - My cat Meredith loves to purr. - The water splashed everywhere when Robert jumped in. - Dad loves to hum whenever he is working. - The snake hissed as we looked under the table. - The popcorn started popping as the pressure cooker got heated. There’s no harm in using Onomatopoeia in your writing. Just ensure that you minimize its use in technical and academic writing. This literary device is a poet’s and an author’s best friend. They make up for fantastic reads and give the best imagery to the readers. We wouldn’t be surprised if you end up coining a new Onomatopoeic word because it’s anyone’s game. You know what they say, imagination is the greatest tool of mankind. What is onomatopoeia? Onomatopoeia is when you create or come up with a word that sounds like the exact sound, which the word describes. Two examples would be ‘Thud’ and ‘Woof.’ What are some onomatopoeia sentences? - My horse neighs out of joy every time he sees me. - The cow moos throughout the day. It’s hindering my sleep cycle. - My neighbor’s dog won’t stop barking. - A laser toy gun has a pew-pew sound. - My cat loves to cuddle and purr all night long. What are the best onomatopoeia? Some of the best and most commonly used onomatopoeic words include the likes of Screech, Vroom, Ugh, Clang, Twang, and Meow. What’s the difference between onomatopoeia and interjections? Both of these terms possess distinct concepts. Onomatopoeic words tend to imitate the sounds of their describing words. This includes ‘Oink,’ ‘Meow,’ ‘Bark,’ ‘Quack’ etc. On the other hand, Interjections are used for expressing a sudden outburst of emotion and excitement. This includes words like ‘Ouch’ and ‘Wow.’ Inside this article Content is rigorously reviewed by a team of qualified and experienced fact checkers. Fact checkers review articles for factual accuracy, relevance, and timeliness. Learn more. - Abstract Noun - Accusative Case - Active Sentence - Adjective Clause - Adjective Phrase - Adverbial Clause - Appositive Phrase - Compound Adjective - Complex Sentence - Compound Words - Compound Predicate - Common Noun - Comparative Adjective - Comparative and Superlative - Compound Noun - Compound Subject - Compound Sentence - Copular Verb - Collective Noun - Concrete Noun - Conditional Sentence - Comma Splice - Correlative Conjunction - Coordinating Conjunction - Coordinate Adjective - Cumulative Adjective - Dative Case - Declarative Sentence - Declarative Statement - Direct Object Pronoun - Direct Object - Dangling Modifier - Demonstrative Pronoun - Demonstrative Adjective - Direct Characterization - Definite Article - False Dilemma Fallacy - Future Perfect Progressive - Future Simple - Future Perfect Continuous - Future Perfect - First Conditional - Irregular Adjective - Irregular Verb - Imperative Sentence - Indefinite Article - Intransitive Verb - Introductory Phrase - Indefinite Pronoun - Indirect Characterization - Interrogative Sentence - Intensive Pronoun - Inanimate Object - Indefinite Tense - Infinitive Phrase - Indicative Mood - Prepositional Phrase - Past Simple Tense - Past Continuous Tense - Past Perfect Tense - Past Progressive Tense - Present Simple Tense - Present Perfect Tense - Personal Pronoun - Persuasive Writing - Parallel Structure - Phrasal Verb - Predicate Adjective - Predicate Nominative - Phonetic Language - Plural Noun - Punctuation Marks - Preposition of Place - Parts of Speech - Possessive Adjective - Possessive Determiner - Possessive Case - Possessive Noun - Proper Adjective - Proper Noun - Present Participle - Subordinating Conjunction - Simple Future Tense - Stative Verb - Subject Complement - Subject of a Sentence - Sentence Variety - Second Conditional - Superlative Adjective - Slash Symbol

<urn:uuid:8360f6ac-e8b7-4dc6-beb5-d328d73d28cb>

CC-MAIN-2023-40

https://grammarbrain.com/onomatopoeia/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510810.46/warc/CC-MAIN-20231001073649-20231001103649-00191.warc.gz

en

Bias in Television News: The Influence Bias in television news is a prevalent and pressing issue that warrants closer examination. The influence of bias on the reporting and presentation of news has far-reaching implications for public opinion, media credibility, and democratic processes. One example that highlights the potential impact of bias in television news is the case study of Channel X’s coverage of the 2020 presidential election. In this case study, it was observed that Channel X heavily favored one candidate over the other throughout their election coverage. This bias manifested itself through selective reporting, framing techniques, and subtle language choices that subtly shaped viewers’ perceptions of the candidates. Such biased reporting not only raises questions about journalistic integrity but also underscores how television news can become a powerful tool for influencing public sentiment and swaying political outcomes. The purpose of this article is to explore the various dimensions of bias in television news and its ramifications on society at large. By delving into existing research studies, analyzing real-life examples, and considering theoretical frameworks from communication theories such as Agenda-Setting and framing, we aim to shed light on the complex interplay between bias, journalism ethics, media consumption patterns, and socio-political dynamics. Ultimately, understanding these influences will empower individuals to critically engage with televised news content and make informed decisions based on multiple perspectives rather than relying solely on one biased source. To achieve this goal, we will first provide an overview of the different types of bias that can manifest in television news, such as partisan bias, corporate bias, and sensationalism. We will explore how these biases can shape the selection and presentation of news stories, resulting in an imbalanced portrayal of events and issues. Next, we will examine the potential consequences of biased reporting on public opinion and democratic processes. We will discuss how biased news coverage can contribute to polarization, reinforce existing beliefs, and hinder constructive dialogue among citizens. Additionally, we will explore the implications for media credibility and trustworthiness when viewers perceive a lack of objectivity or fairness in their news sources. Furthermore, we will analyze case studies like Channel X’s coverage of the 2020 presidential election to illustrate how bias can be subtly embedded in news content through framing techniques and language choices. By dissecting specific examples from this case study, we aim to help readers identify common indicators of bias in televised news reporting. Lastly, we will consider potential solutions to address bias in television news. This may include promoting media literacy education to empower individuals with critical thinking skills necessary to navigate a complex media landscape. We will also discuss the importance of diverse perspectives and independent journalism as key elements in ensuring balanced and unbiased news coverage. In conclusion, this article seeks to highlight the significance of examining bias in television news while emphasizing the need for a more informed and discerning audience. By understanding the role of bias in shaping news narratives, individuals can actively engage with multiple sources, question information presented to them, and ultimately make well-rounded decisions based on a variety of perspectives. The Power of Presentation Television news has a profound influence on public opinion, shaping our understanding of the world and informing our perspectives. However, it is essential to recognize that this influential medium is not without its biases. Bias in television news can manifest through various means, including the power of presentation. One example illustrating the impact of presentation lies in the use of images and visuals. A news segment on a protest rally could be presented differently depending on how cameras capture and edit footage. For instance, zooming in on protestors who engage in violent acts may create an impression that the entire demonstration was unruly or even dangerous. Conversely, focusing solely on peaceful moments might convey a more positive image. This manipulation of visual elements influences viewers’ perceptions and shapes their opinions. To further understand the role of presentation bias, consider these emotional triggers: - Emotional language: The use of emotionally charged words can sway viewers’ sentiments towards a specific viewpoint. - Selective reporting: Highlighting certain incidents while omitting others can distort reality and skew audience perception. - Framing techniques: Presenting information within a particular context can shape viewer interpretation. - Soundbites: Selectively chosen quotes from interviews or speeches can alter intended messages. Moreover, we must acknowledge that bias extends beyond just textual content; it also encompasses non-verbal cues such as body language and tone of voice used by news anchors or reporters during broadcasts. To illustrate these concepts visually, refer to Table 1 below: |Emotional Language||“Heartbreaking tragedy”||Evokes empathy and sympathy towards victims| |Selective Reporting||Focusing only on one side||Skews perception by excluding alternative views| |Framing Techniques||Placing blame on a group||Shapes opinion by directing responsibility| |Soundbites||Misquoting or decontextualizing||Alters original intent and message| In conclusion, the Power of Presentation in television news cannot be underestimated. The way information is presented can significantly influence viewers’ perceptions and opinions. Understanding the various techniques used to shape narratives is crucial for media literacy and critical analysis. Moving forward, it becomes essential to explore how perception itself plays a role in shaping reality. Transitioning into the subsequent section about “How Perception Shapes Reality,” we delve deeper into the interplay between individual interpretation and the messages conveyed through biased presentations. How Perception Shapes Reality While presentation undoubtedly plays a significant role in shaping our perception of news, it is essential to explore how this perception can influence our understanding of reality. By examining the ways bias manifests through television news, we can gain insight into the extent of its impact on society. Perception is a powerful force that shapes our understanding and interpretation of information. To illustrate this point, let us consider a hypothetical scenario where two different news outlets cover the same event—a political rally—each presenting it with their own biases. Outlet A portrays the rally as an inspiring display of grassroots democracy, emphasizing unity and community engagement. In contrast, Outlet B focuses on isolated incidents of violence and discord, painting a picture of chaos and division. These contrasting narratives highlight how differing presentations can shape viewers’ perceptions and ultimately influence their reality. To further understand the impact of biased presentation in television news, we must examine several key factors that contribute to this phenomenon: - Selective story choice: Media outlets often prioritize stories aligned with their editorial stance or target demographic, leading to an imbalanced representation of events. - Framing techniques: Through strategic framing choices such as headlines, visuals, and interviews, broadcasters can manipulate audience opinion by emphasizing certain aspects while downplaying others. - Language usage: The selection of words and phrases influences public sentiment towards specific individuals or groups involved in news stories. - Guest speaker dynamics: Inviting guests with similar views strengthens confirmation bias among audiences who are more likely to seek information affirming their pre-existing beliefs. |Factors Influencing Biased Presentation| |1. Selective story choice| These factors, when employed intentionally or inadvertently by news broadcasters, can significantly shape the way viewers perceive reality. By highlighting certain aspects of an event or issue while omitting others, television news subtly influences public opinion and molds societal understanding. As we delve deeper into the influence of bias in television news, our focus will shift toward exploring how media outlets employ subtle manipulation techniques to further their agendas. Understanding these strategies is crucial for individuals seeking a well-rounded perspective on current events and for maintaining an informed citizenry. Moving forward, let us examine “The Media’s Subtle Manipulation” to uncover additional tactics used to control narratives and shape public perception without explicitly stating any particular steps. The Media’s Subtle Manipulation Television news plays a significant role in shaping public opinion and understanding, as it has become an integral part of our daily lives. However, one cannot ignore the possibility of bias within these news broadcasts. The influence of biased television news can be seen through various means, such as selective reporting and subtle manipulation techniques employed by media organizations. To illustrate this point, consider a hypothetical scenario where two major news networks cover the same event but present contrasting narratives. Network A focuses on highlighting the positive aspects of the event while downplaying any negative implications. Conversely, Network B emphasizes the negatives and uses inflammatory language to evoke strong emotions in its viewers. This stark difference in coverage demonstrates how bias can shape public perception and create divergent realities based on individual news consumption. There are several underlying factors that contribute to biased television news: - Editorial decision-making: Editors play a pivotal role in determining which stories make it to air and how they are presented. Their personal beliefs or organizational agendas may inadvertently lead to skewed coverage that favors certain perspectives over others. - Corporate ownership: Many media outlets are owned by conglomerates with diverse business interests beyond journalism. It is inevitable that their financial considerations might seep into editorial decisions, leading to potential conflicts of interest or censorship. - Political affiliations: In some cases, journalists themselves may have political leanings or affiliations that unconsciously affect their reporting style and content selection. - Ratings and viewer preferences: Media organizations often cater to specific target demographics for higher ratings and increased advertising revenue. Consequently, sensationalism and partisan viewpoints tend to dominate programming choices. The impact of biased television news extends far beyond mere information dissemination; it influences public discourse, shapes opinions, and contributes to societal polarization. To fully comprehend this complex issue, we must delve deeper into the hidden forces behind news production – exploring not only how biases emerge but also why they persist despite efforts to maintain objectivity. Understanding the deeper motivations behind biased news reporting is crucial in unraveling “The Hidden Forces Behind News” and shedding light on the broader implications for society. The Hidden Forces Behind News Section H2: The Media’s Subtle Manipulation In the previous section, we explored how the media employs subtle tactics to manipulate public opinion. Now, let us delve deeper into understanding the hidden forces behind news coverage and how they contribute to bias in television news. To illustrate this point, consider a hypothetical scenario where two major political events occur simultaneously: an important policy announcement by one party and a scandal involving another party. While both events should ideally receive equal coverage, bias can creep in through selective emphasis. Television networks may choose to give more airtime and prominence to the scandal, thereby influencing viewers’ perceptions of the parties involved. This biased portrayal is often fueled by several underlying factors: - Editorial decisions: Editors play a pivotal role in determining which stories get covered and how they are presented. Their personal beliefs or affiliations can inadvertently seep into their decision-making process, leading to imbalanced reporting. - Corporate interests: Media organizations are profit-driven entities with corporate ties that may influence their editorial agenda. This can lead to prioritizing certain narratives or perspectives over others, further perpetuating bias. - Audience preferences: Networks cater to specific demographics and aim to retain viewer attention for maximum ratings. Consequently, they might tailor content based on audience biases or sensationalize stories to generate interest. - Political pressures: Governments exert varying degrees of control or influence over media outlets, either directly or indirectly. Such pressures can result in self-censorship or skewed reporting that aligns with those in power. - Distorted reality shaping public opinion - Loss of trust in media as objective source - Polarization among viewers due to divergent viewpoints - Potential erosion of democracy’s foundation Furthermore, it is essential to understand these mechanisms within the larger context of bias in media coverage. To shed light on this complex issue comprehensively, let us now explore “The Hidden Forces Behind News,” which will delve further into the role of media ownership, political affiliations, and external influences in shaping television news. As we transition to understanding “The Hidden Forces Behind News,” it becomes evident that bias in television news is not a singular phenomenon but rather an intricate web woven by various factors. By examining these underlying forces, we can gain insight into how opinions are intentionally shaped through the subtle manipulation of information. The Art of Shaping Opinions Section: Bias in Television News: The Influence Television news plays a crucial role in shaping public opinion, but the influence it holds can be subject to bias. To exemplify this, imagine a scenario where two major news channels report on the same event—a political debate between two candidates. Channel A emphasizes one candidate’s eloquence and ability to connect with voters. In contrast, Channel B focuses on the other candidate’s lack of experience and inability to answer tough questions. This example highlights how media bias can subtly steer viewers’ perceptions by selectively highlighting certain aspects while downplaying others. The influence of biased television news extends beyond individual stories or events; it permeates various levels of reporting and affects wider societal perspectives. Here are some key points to consider: - Selective coverage: Television networks often prioritize certain topics over others based on their target audience or editorial agenda. This selectiveness may result in overlooking important issues that require attention or amplifying less significant ones for sensationalism. - Framing techniques: Media outlets employ framing techniques to shape how audiences perceive information. For instance, using emotional language, specific imagery, or repetitive messaging can evoke strong reactions and influence viewer opinions even before they have had an opportunity for critical analysis. - Echo chambers: Biased television news may contribute to the creation of echo chambers, where individuals only consume content that aligns with their preexisting beliefs and values. This phenomenon reinforces existing biases and limits exposure to diverse perspectives. - Confirmation bias: Viewers tend to seek out information that confirms their existing beliefs rather than challenging them. Biased television news can exploit this tendency by presenting narratives that resonate with particular ideological leanings without providing alternative viewpoints. To further illustrate the impact of these factors, we present a table showcasing hypothetical examples of biased frames used by different TV networks covering a controversial topic: |Media Outlet||Frame||Emotional Language| |Channel A||“Victims of Injustice”||Exploitation, Discrimination| |Channel B||“Threat to Society”||Danger, Invasion| |Channel C||“Defense of Freedom”||Patriotism, Heroism| |Channel D||“Unnecessary Conflict”||Division, Chaos| These frames demonstrate how a single event can be portrayed in vastly different ways depending on the biases and agendas of news networks. Such biased framing techniques contribute to public polarization and further reinforce existing divisions within society. In light of these considerations regarding bias in television news reporting, it becomes evident that understanding the influence media holds is crucial for maintaining an informed citizenry. The subsequent section will delve into another aspect of this influence: media framing and its effects on shaping public opinion without relying solely on personal beliefs or preconceived notions. The Influence of Media Framing Once an opinion is shaped through various techniques, it becomes essential to explore the influence that these opinions can have on individuals and society as a whole. The media plays a significant role in shaping public perception, with television news being one of the most influential platforms. By employing specific framing techniques, news organizations can subtly sway viewers’ opinions without their conscious awareness. To illustrate this point, consider the following hypothetical situation: Imagine two different news channels reporting on a recent political event. Channel A frames the event as a triumph for democracy, highlighting the high voter turnout and diverse representation in elected officials. On the other hand, Channel B frames the same event as marred by corruption and inefficiency, focusing on allegations of voter fraud and bureaucratic mishandling. These contrasting narratives presented by each channel will undoubtedly shape how viewers perceive the event and form their own opinions. Media framing encompasses several strategies designed to elicit emotional responses from audiences while subtly influencing their viewpoints. To better understand some of these techniques, we can examine them in bullet point format: - Selective presentation: News outlets may choose which aspects of a story to emphasize or omit entirely based on their editorial bias. - Word choice: The use of specific language can evoke particular emotions or associations in viewers. - Emotional appeals: Manipulative tactics such as appealing to fear or empathy are often employed to sway public opinion. - Visual cues: Images and visuals used alongside news stories can significantly impact viewer perceptions. Understanding how media framing operates requires recognizing its characteristics across different contexts. Consider the following table showcasing examples of media framing techniques within distinct societal issues: |Societal Issue||Media Framing Technique| |Climate change||Denialism vs. Urgency| |Immigration||Criminalization vs. Humanitarianism| |Healthcare reform||Government intrusion vs. Social justice| |Economic inequality||Individual responsibility vs. Systemic injustice| By employing these framing techniques, news organizations can subtly mold public opinion and influence the way individuals perceive various societal issues. This power to shape perspectives highlights the need for media literacy among viewers, empowering them to critically evaluate information presented by television news channels. Transitioning into the subsequent section on “Unveiling the Manipulative Techniques,” it becomes evident that understanding how media frames information is crucial in order to identify and analyze manipulative tactics employed within television news programming. By delving deeper into these techniques, we can unveil a range of strategies utilized by news outlets to sway public opinion towards their desired narratives. Unveiling the Manipulative Techniques Television news plays a significant role in shaping public opinion, but it is crucial to recognize that bias can exist within these broadcasts. In order to fully understand how biases are manifested, it is important to unveil the manipulative techniques used by television networks. By examining specific examples and analyzing common strategies employed by media outlets, we can gain insight into the potential influence they hold. One key technique utilized by biased television news outlets is Selective storytelling. This occurs when certain aspects of a story are emphasized or omitted in an effort to shape public perception. For instance, imagine a hypothetical scenario where a news network airs a segment on crime rates in a particular city. Instead of presenting a comprehensive view of the situation, the broadcaster focuses solely on crimes committed by individuals from marginalized communities. By selectively highlighting this information, the network perpetuates stereotypes and reinforces existing biases among viewers. To further manipulate their audience’s opinions, biased television news often employs emotional appeal tactics. These tactics aim to evoke strong emotions such as fear or anger through carefully crafted narratives and visual imagery. A bullet point list below illustrates some commonly used emotional appeal strategies: - Sensationalizing headlines - Dramatic music or sound effects - Provocative language - Exclusive interviews with emotionally charged individuals In addition to selective storytelling and emotional appeals, another tactic frequently observed in biased television news is cherry-picking evidence. This involves using only those pieces of information that support pre-existing biases while disregarding any contradictory evidence. To better illustrate this strategy, consider a real-life example where a news outlet covers a political debate between two candidates. The network may showcase clips that portray one candidate negatively while excluding moments that shed positive light on them. By cherry-picking evidence in this way, the network skews viewers’ perceptions and influences their understanding of events. As consumers of television news content, it is essential for us to be mindful of these manipulative techniques. By recognizing selective storytelling, emotional appeals, and cherry-picking evidence, we can better navigate the web of biased information that surrounds us. Navigating the Web of Biased Information As we delve deeper into the realm of biased information, it becomes crucial to unveil the manipulative techniques employed by television news networks. One notable example is the selective use of visuals and soundbites to shape viewers’ perceptions. Consider a hypothetical scenario where a news segment covers a protest rally against government policies. The network may choose to focus solely on confrontational moments or violent acts, creating an impression that the entire protest was chaotic and unruly, rather than highlighting peaceful demonstrations within the same event. To fully comprehend how bias operates in television news, let us examine some common manipulative techniques: Omission: Television news often omits certain key details or perspectives that do not align with their narrative. This deliberate exclusion can significantly alter viewers’ understanding of events, leading to incomplete or distorted conclusions. Loaded Language: Biased reporting frequently employs emotionally charged language designed to sway viewers’ opinions. By using carefully chosen words and phrases, networks can subtly guide audiences towards specific beliefs or attitudes without directly stating them. Stereotyping: Another method used extensively is the creation and reinforcement of stereotypes through portrayals of individuals or groups associated with particular ideologies or backgrounds. These stereotypes perpetuate bias by simplifying complex issues and promoting preconceived notions. False Equivalence: Some news outlets attempt to create balance by presenting two opposing viewpoints as equally valid, even when evidence overwhelmingly supports one side over another. This false equivalence gives undue credibility to unfounded arguments and fosters confusion among viewers seeking objective information. The table below illustrates these manipulative techniques commonly found in biased television news: |Omission||Deliberate exclusion of relevant facts or alternative perspectives| |Loaded Language||Use of emotionally charged words or phrases designed to influence audience sentiment| |Stereotyping||Portrayal of individuals or groups based on simplified and often distorted generalizations| |False Equivalence||Presentation of opposing viewpoints as equally valid, despite evidence favoring one side over the other| By understanding these manipulative techniques, viewers can become more discerning consumers of news. In the following section, we will explore strategies for navigating this web of biased information and developing a critical mindset to evaluate news content effectively. Breaking Free from Cognitive Traps Transitioning from the previous section, where we discussed the challenges of navigating biased information on the web, it is essential to explore an equally significant aspect – bias in television news. To illustrate this point further, let us consider a hypothetical case study involving two news channels covering a recent political event. Channel A presents a nuanced and balanced analysis of various perspectives, providing viewers with well-rounded coverage. In contrast, Channel B heavily favors one particular viewpoint, omitting crucial details that may challenge their narrative. Understanding the influence of bias in television news requires recognizing certain key aspects: Selectivity: News outlets often selectively present stories or viewpoints that align with their own agenda or target audience preferences. This selectivity can limit viewers’ exposure to diverse opinions and hinder their ability to form informed judgments. Framing: How news events are framed significantly impacts how they are perceived by audiences. By using specific language choices, visuals, or emphasizing certain aspects while downplaying others, television news channels shape public discourse and sway opinion. Confirmation Bias: Viewers tend to seek out information that confirms their existing beliefs and values rather than challenging them. Television news outlets often cater to these biases by presenting content aligned with preexisting views, reinforcing individuals’ confirmation bias. Emotional Manipulation: Television news frequently employs emotional appeals through sensationalism or fear-mongering tactics to captivate audiences and maintain viewership. Such strategies can lead to heightened emotional responses among viewers without necessarily fostering critical thinking skills. To emphasize the impact of bias in television news more vividly, consider the following examples: |Channel A||Channel B| |Coverage||Nuanced and balanced||Heavily favoring one viewpoint| |Perspectives||Varied range of opinions||Limited perspective| |Language||Impartial and objective||Emotionally charged language| |Visuals||Representing both sides fairly||Biased visuals reinforcing one viewpoint| Understanding the influence of bias in television news is crucial as it directly affects individuals’ perception of reality. By recognizing the selectivity, framing techniques, confirmation biases, and emotional manipulation at play, viewers can begin to critically analyze the information they consume. This awareness will empower them to make more informed decisions about the news they choose to trust. Transitioning into the subsequent section on “The Impact of Filter Bubbles,” we delve further into how biases in media consumption can create echo chambers that limit our exposure to diverse perspectives. The Impact of Filter Bubbles In examining the bias prevalent in television news, it is crucial to understand the impact of cognitive traps that can hinder individuals’ ability to critically evaluate information. These traps often lead to a reinforcement of existing beliefs and an unwillingness to consider alternative perspectives. To illustrate this point, let us consider a hypothetical scenario where two viewers, John and Sarah, are watching a news segment on climate change. John firmly believes that human activities have no significant impact on climate change and tends to watch news channels that align with his viewpoint. On the other hand, Sarah is convinced that urgent action needs to be taken to address climate change and actively seeks out news sources that confirm her stance. As they watch the same news report discussing recent scientific findings supporting human-induced climate change, both viewers fall into cognitive traps. For John, confirmation bias comes into play as he dismisses any evidence presented in favor of anthropogenic climate change. He selectively focuses only on arguments or data points that support his pre-existing belief system while disregarding contradictory information. Similarly, Sarah falls victim to groupthink by surrounding herself with like-minded individuals who reinforce her views without questioning them objectively. To better comprehend these cognitive traps and their implications for media consumption, we present four key factors contributing to their perpetuation: - Selective exposure: Individuals tend to seek out information sources that align with their existing beliefs. - Confirmation bias: People prioritize information that confirms their preconceived notions over conflicting evidence. - In-group influence: Social circles consisting of like-minded individuals discourage dissenting viewpoints. - Distrust of opposing opinions: A lack of trust in alternative perspectives reinforces biases and hinders critical evaluation. As seen in the table below, these factors interact and contribute to the formation of echo chambers within which one’s own beliefs are continuously reinforced: |Selective exposure||Reinforces existing beliefs||Limits exposure to differing viewpoints| |Confirmation bias||Disregards contradictory evidence||Hinders objective evaluation| |In-group influence||Discourages dissenting opinions||Limits critical thinking| |Distrust||Reinforces biases and hinders openness||Impedes consideration of alternatives| To overcome these cognitive traps, individuals must actively work towards breaking free from their echo chambers. This necessitates a willingness to engage with diverse perspectives while critically evaluating information presented by the media. By consciously seeking out sources that challenge their beliefs, viewers can foster intellectual growth and develop a more comprehensive understanding of complex issues. Revealing the Echo Chamber Effect, our subsequent section delves deeper into the impact of filter bubbles on individual perceptions and societal divisions. Revealing the Echo Chamber Effect As we have explored the impact of filter bubbles on news consumption, it is essential to delve into another crucial aspect that contributes to a distorted news narrative – Bias in Television News. This section will examine how biases can influence television news reporting and shape public perception. One example that illustrates the echo chamber effect perpetuated by biased television news is the coverage of political campaigns. During election seasons, many TV networks tend to favor particular candidates or parties, thereby presenting a one-sided perspective to viewers. By selectively highlighting certain policies or actions while downplaying others, these biased portrayals contribute to the formation of echo chambers where individuals are less likely to encounter diverse viewpoints. To further understand the implications of bias in television news, consider the following emotional responses evoked by this issue: - Frustration at not receiving well-rounded information - Anger towards media outlets for their lack of objectivity - Concern about potential manipulation and misinformation dissemination - Skepticism towards televised sources due to perceived bias This table highlights some common biases found in television news reporting: |Type of Bias||Description||Example| |Political||Favoring a specific party or ideology||Providing more airtime and positive coverage to one candidate over others during an election season| |Sensational||Emphasizing dramatic elements for increased viewer engagement||Choosing sensational headlines even if they misrepresent the actual story| |Corporate||Promoting interests aligned with corporate sponsors||Avoiding critical coverage against companies sponsoring advertisements| |Confirmation||Reinforcing existing beliefs rather than challenging them||Interviewing only experts who share similar views| The presence of bias within television news has significant consequences for public perception. It can shape the way people interpret events, influence their political opinions, and even contribute to polarization within society. Recognizing the impact of bias on news reporting is crucial in fostering media literacy and promoting a more informed citizenry. Moving forward to understanding the distorted news narrative, let us explore how these biases can manipulate information dissemination and affect the overall credibility of television news sources. Understanding the Distorted News Narrative Building upon the implications of the echo chamber effect, this section delves deeper into understanding how television news narratives can become distorted due to biased reporting. By examining the mechanisms behind these distortions, we can gain valuable insights into the potential impact on viewers’ perceptions and beliefs. Distorted News Narrative One example that highlights the power of a distorted news narrative is the coverage surrounding a highly contentious political issue. Let us consider a hypothetical scenario where a heated debate on immigration unfolds. In one instance, Channel A decides to focus primarily on stories highlighting criminal activities committed by immigrants, painting them as a threat to national security. Meanwhile, Channel B chooses to emphasize heartwarming tales of immigrant success stories, showcasing their contributions to society. These divergent approaches result in two drastically different narratives being presented to viewers. To understand how such distortions occur, several factors contribute to shaping the news narrative: - Selective Story Choices: Television news outlets often selectively choose which stories to cover or prioritize based on their own biases or agenda. - Framing Techniques: The way information is framed can significantly influence viewers’ perception of events. Biased framing may involve emphasizing certain aspects while downplaying others or using emotionally charged language. - Source Selection Bias: Journalists have discretion when selecting sources for their reports. If they predominantly rely on individuals with specific viewpoints or affiliations, it can lead to an imbalanced representation of opinions and perspectives. - Implied Causation: Another mechanism used in distorting news narratives involves implying causation when there might only be correlation between events or phenomena. These factors illustrate how television news narratives can easily become skewed towards particular ideologies or agendas, potentially leading audiences astray from objective reality. |Factors contributing to Distorted News Narratives| |Selective Story Choices| |Source Selection Bias| While it is essential for news outlets to exercise journalistic autonomy and freedom, it becomes crucial for viewers to be aware of these potential distortions. By being mindful consumers of information, individuals can better critically evaluate the narratives presented to them and seek out a range of perspectives. In light of these observations, understanding the impact of biased reporting on public opinion formation takes on even greater significance. The subsequent section will delve into this aspect by examining empirical studies that shed light on how television news biases influence viewer attitudes and beliefs.

<urn:uuid:32fa7f4b-a9c9-45b4-9895-79f498d1063d>

CC-MAIN-2023-40

https://madabouthelen.com/bias/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510516.56/warc/CC-MAIN-20230929122500-20230929152500-00889.warc.gz

en

The topic I am researching is ‘This is How Music is Taught’, where I examine the different pedagogical methods into teaching music within the classroom and how they are utilised most effectively to bring out the most of the student’s potential. The article ‘Pedagogical techniques and student outcomes in applied instrumental lessons taught by experienced and pre-service American music teachers’ by Henninger, Flowers and Councill highlights the importance of employing effective and versatile educational techniques, where they encourage further training into teachers to providing the best experience for music students. They compare teaching traits such as methods of explanation and teaching styles such as application and engagement. Junda’s article ‘Developing Readiness for Music Readiness’ builds on the notion of employing effective and purposeful teaching methods by emphasising the importance on student’s ability to utilise their voices. She explains the potential detrimental effects of achieving future musical pursuits without providing students with foundational skills in the classroom where she addresses some valuable and engaging musical activities that educators can implement within the classroom to combat this issue. Alongside providing students with knowledge of musical fundamentals, another aspect of effective classroom music teaching is educating the student’s social scope. McClung in his article ‘Extramusical Skills in the Music Classroom’ expresses the need of developing these aspects in young children into the musical classroom, rather than a concentration on only the music academia. As a possible future secondary teacher, this research on the different educational approaches has provided me with an insight with aspects I should take on board into my future classroom as well as methods in which I can approach learning throughout my studies and beyond. The authors of this article base their research and findings on works including ‘Measure of instructional effectiveness in music research’ by R. A. Duke where learning outcomes can be better addressed through further improvement of educational methods. Also, Thomas W. Goolsby’s article ‘Time Use in Instrument Rehearsals: A Comparison of Experienced, Novice, and Student Teachers’ findings indicated that music educators with more experience tended to conduct their sessions more proficiently, using a range of techniques which allows a greater musical experience by students. Continued research and growth of effective teaching techniques for aspiring educators is beneficial to yield improvements in the quality and effectiveness in the music classroom. The writers of this article encourage further research into training and mentoring music educators to promote efficient skills to improve the learning experience of student musicians. They express concern regarding the teaching where a predominant focus of repetitive and somewhat monotonous learning was the methodology used by teachers of the less-experienced calibre. The student’s musical experience in the lesson seemed to be impacted by an overuse of criticism with a somewhat inappropriate proportioning of time between critiquing and student practical involvement, which affects the student being able to reach their potential. The amounts of negativity used by educators compared to words of praise and encouragement is unreasonably high. There are a range of strategies implied to address this matter, including the use of practical hands-on explanations where “modeling activities had a significance improved ear-to-hand coordination.” The rationale and reasoning should be included as part of teaching the material, alongside addressing the conceptual skill. A musical experiment of attempting to teach ‘Mary had a Little Lamb’ from both experienced and less-experienced educators indicated a more active verbal student participation, likely resulting from uses of effective remarks from them. The purpose of discussing this experiment is to highlight the benefits and outcomes to music students of utilising effective and purposeful pedagogical techniques which should be taught to music teachers. The exploration and experiment involved in the article suggests a need to implement good teaching habbits by teachers to raise the quality and confidence of the performance and learning experience by music students. Henninger’s later article ‘The Effects of Performance Quality Ratings on Perceptions of Instrumental Music Lessons’ investigated further into the types of scrutiny of teachers of the less-experience calibre Rutkowsi’s article ‘The Measurement and Evaluation of Children’s Singing Voice Development’ expresses concern over the lack of success in learning and perplexing in music is caused by the inability to use the singing voice as a tool. If a larger emphasis is placed on educating and enhancing students understand of music fundamentals at an early age in the school classroom, the issue of unable to fully develop musically can be better addressed. Junda writes this article to address the necessity of fundamental music training in the school classroom in order for young students to engage musically in more difficult activities. The ability to recognise and interpret music notation and participate in more advanced musical tasks is hindered without successful mastery of a solid understanding of music basics. Although educators may be introducing musical material to students of a young age, their full potential may not be unlocked without implementing some changes to their teaching methodology. There are a range of teaching strategies and tools that educators can utilise within the music classroom to address this. Students can be introduced to basic and engaging activities using their singing voice to a range of activities. An engaging activity is for students to use their voices as onomatopoeia for real-life sounds. Educators should monitor their progression and provide constructive feedback to the students such as asking them to imitate a range notes and pitches to test their vocal ability. This coupled with peer reviewing is also encouraged. Furthermore, students can be trained to distinguish between different melodic patterns and note registers by practising with interpreting intervals. The concept of duration should also be introduced by activities such as “clap the rhythm”. The utilisation of these elementary activities means that students have a more sophisicated groundwork of the music fundamentals which they can use aboard in more difficult musical tasks. The ability to recognise notation can be more successful after grappling and achievement of these classroom tasks. The exploration of this article highlgihts the vitalness of training and mastery of the foundational skills within not only the music classroom, prior to the exposure of higher-order tasks. The article ‘Part Singing Revisited’ by Junda mentions students can have the ability to sing more advanced and demanding type singing activities, given they are equipped and trained with the foundational skills needed. Writer McClung’s article refers to the works of William E. Fredrickson ‘Social influence and Effects on Student Perception and Participation in Music’ where a valuable experience such as the exposure with music participation at a young age can unlock various positive and provocative memories. Daniel Goleman ‘Emotional Intelligence: Why It Can Matter More Than IQ’ article highlights the importance of the development of an emotional aspect in children referred to as “Emotional Quotient”. In order to train and learn these importance skills, a positive and encouraging environment is needed as such a musical space is used. McClung expresses concern over the lack of catering and development of various aspects of student’s cognitive and emotional attributes where this can be better addressed in the parameters of a music-orientated classroom. These emotional aspects cannot be fully dealt with and mentored with a mainly Intelligence-focused school curriculum, which may impact the students to maintain an appropriate level of mental healthiness and the ability to communicate their psychological and social needs. The arising issue cannot be overcome and dealt without a drastic change as “those who lack the skills necessary…is growing”. There are couple of strategies that are adopted by schools to combat this including the introducing and utilisation of “Extramusical Skills”. This could include the use of programs such as the school choir where student’s response to aspects such as “integrative associations, communicative emotions” had seen an improvement and these attributes were seen as of value. Also, a greater emphasis on integrating the Emotional Quotient component into the confines of the music classroom such as practising peer bonding and socialising should also be beneficial for children. The mastery of these types of behaviours can be effectively taught by incorporating each of these behavioural elements into certain learning outcomes of the music classroom and to create positive and motivating classroom activities for the students to put into practice alongside teaching the material. McClung suggests these changes to be put in place in schools as to address the previous concerns of the neglect of the Emotional Quotient training in students where these aspects can be trained in a music-orientated space where Fredrickson mentions memoriable expeirences can be experienced by a child. After implementing these adjustments to the delivery of syllabus material to the music classroom, these psychological factors in students can now be addressed in pupils which can ultimately leads to commendable results of a successful academic experience of both the Emotional and Intelligence Quotient. McClung’s exploration of this has allowed teachers to challenge and their methods of teaching and to ensure that the social aspect of students is better addressed in their classroom. His article ‘Using Video Self-Assessment to Enhance Nonverbal Conducting Gesture’ highlights the importance of effective conducting techniques, a communicative behaviour which can be used effectively in a musical setting, likewise with the training of social skills. The research that I have gathered and learnt throughout has provided me with innovative approaches to learning and attributes which I can utilise in not only my future studies at the university, but in addition, as an aspiring high school teacher. As a contemporary music student, one of the skills involved in music production is the ability to be proficient at utilising a DAW such as Logic Pro X. The mastery of this software may take some time and practise. As the second articles highlights the need for a well-developed foundational base, one of the units of study which I will undertake in Semester 2 is called ‘Creative Music Technology’, where I hope to continue to develop and hone in my basic DAW skills, prior to pursing more advanced and higher-level musical projects in the future. In addition with one of the music skills units ‘Fundamentals of Music 3’, it will be beneficial for my learning if I revise needed material from ‘Fundamentals of Music 2’ as some of the new content learnt may be expanded on from the latter course which I completed this semester. Furthermore, as an aspiring secondary music or mathematics teacher, I value the importance of equipping students with rudimentary skills prior to introducing harder concepts. For example, the concept of duration can be introduced by asking students to clap along to nursery rhymes such as ‘Humpty Dumpty’ and ‘The Grand Old Duke of York’ as I play it on the piano to identify the rhythm, prior to writing the meter. In relation to the first article, employing purposeful teaching methodology and to focus on the rationale rather than a somewhat ineffective memorising exercise, I hope to provide a purposeful and hands-on learning experience for my future students, including the ‘why?’ in my explanations to hopefully engage my students in the classroom. For example, when introducing a formula, I try to provide students with a derivation of the formula, rather than just completing questions. Monitoring and recording my student’s progress is essential in their academic development. Finally, in terms of the third article, addressing the social and behavioural aspects of students in the classroom is necessary to promote aspects such as communication and interaction between my students. Elevating Essay Writing: Delivering Excellence and Literary Distinction Crafting Essays that Leave a Lasting Impression In the realm of academic expression, where words have the power to shape ideas and inspire minds, we stand as a beacon of excellence. As dedicated essayists, we take immense pride in our ability to weave words into captivating narratives, enlightening arguments, and thought-provoking analyses. Our journey as essay writers has been one of continuous growth and meaningful impact. Let’s explore some remarkable instances where our expertise has made a significant difference. Guiding Students Towards Success Our journey is intertwined with the success stories of numerous students who sought our guidance. In one instance, a struggling undergraduate approached us with an intricate topic in the field of sociology. Through meticulous research and a nuanced understanding of the subject, we formulated an essay that not only secured the student’s academic standing but also ignited their passion for social sciences. Similarly, a graduate student grappling with the complexities of literary criticism found solace in our expertise. We delved into the depths of literary theory, dissecting texts and exploring nuanced interpretations. The resulting essay not only garnered accolades but also instilled a newfound confidence in the student’s analytical abilities. Breathing Life into Topics: Examples of Our Endeavors The Intersection of Technology and Society: In an era dominated by technological advancements, we embarked on an essay that explored the intricate relationship between technology and society. By seamlessly blending sociological insights with technological trends, we created an essay that resonated with readers across disciplines. Environmental Ethics and Sustainability: With environmental concerns taking center stage, we took on the challenge of crafting an essay that delved into the ethical dimensions of sustainability. Through rigorous research, we presented a compelling argument that not only addressed the urgency of the issue but also proposed actionable solutions. Literary Analysis: Unraveling Symbolism: Literary works often conceal layers of symbolism. In an essay dedicated to the works of a renowned author, we unraveled the subtle threads of symbolism woven into the narrative. This essay not only celebrated the author’s craftsmanship but also offered readers a deeper appreciation for the written word. A Tapestry of Literary Accolades Our dedication to the art of essay writing has not gone unnoticed. Over the years, we have had the privilege of being recognized in esteemed literary competitions that celebrate creativity and intellectual prowess. These accolades serve as a testament to our commitment to delivering essays that transcend the ordinary and venture into the extraordinary. Literary Award Highlights Eloquent Prose Prize: Awarded by the Prestigious Wordsmith Guild, this accolade celebrated our mastery over language and the art of storytelling. The essay that earned us this honor explored the nuanced emotions of human existence through a compelling narrative. Critical Thinker’s Commendation: Presented by the Symposium of Intellectual Thought, this award acknowledged our prowess in critical analysis. Our essay, dissecting the philosophical underpinnings of existentialism, showcased our ability to navigate complex ideologies with finesse. Literary Luminary Award: Conferred by the Literary Confluence, this award celebrated our contribution to literary discourse. The winning essay, an exploration of the intersection between culture and identity, captured the essence of diverse human experiences. Conclusion: Pioneering Excellence in Essay Writing As we reflect on our journey as essayists, we are filled with a profound sense of purpose. Our dedication to delivering exceptional essays that enlighten, engage, and inspire remains unwavering. Through intricate narratives, incisive analyses, and unwavering commitment to the written word, we have carved a niche for ourselves in the realm of academic and literary excellence. Join us as we continue to shape ideas, foster growth, and transcend boundaries through the power of the written essay. 1. Duke, Robert A. “Measures of Instructional Effectiveness in Music Research.” Bulletin of the Council for Research in Music Education, no. 143 (1999-2000): 1-48. 2. Goolsby, Thomas W. “Time Use in Instrumental Rehearsals: A Comparison of Experienced, Novice, and Student Teachers.” Journal of Research in Music Education 44, no. 4 (1996): 286-303. 3. Henninger, Jacqueline C., Patricia J. Flowers, Kimberly H. Councill. “Pedagogical Techniques and Student Outcomes in Applied Instrumental Lessons Taught by Experienced and Pre-Service American Music Teachers.” International Journal of Music Education 24, no.1 (2006): 71-84. 4. Henninger, Jacqueline C. “The Effects of Performance Quality Ratings on Perception of Instrumental Music Lessons.” Update: Applications of Research in Music Education 27, no. 1 (2008): 9-16. 5. Ruthowski, Joanne. “The Measurement and Evaluation of Children’s Singing Voice Development.” Visions of Research in Music Education 16, no. 1 (1990): 81-95. 6. Junda, Mary Ellen. “Developing Readiness for Music Reading.” Music Educators Journal 81, no. 2 (1994): 37-41. 7. Fredrickson, William E. “Social Influence and Effects on Student Perception and Participation in Music.” Update – Applications of Research in Music Education 15, no. 2 (1997): 29-32. 8. booktopia: Emotional Intelligence Why It Can Matter More Than IQ. Accessed 5th June 2019. https://www.booktopia.com.au/emotional-intelligence-daniel-goleman/prod9780747528302.html. 9. Mcclung, Alan C. “Extramusical Skills in the Music Classroom: This article proposes that extramusical skills can be taught in the music classroom alongside music skills.” Music Educators Journal 86, no.5 (2000): 37-68. 10. Mcclung, Alan C. “Using Video Self-Assessment to Enhance Nonverbal Conducting Gesture.” Choral Journal 45, no. 9 (2005): 26-35. Robert A. Duke, “Measures of Instructional Effectiveness in Music Research,” Bulletin of the Council for Research in Music Education, no. 143 (1999-2000), 1. Thomas W. Goolsby, “Time Use in Instrumental Rehearsals: A Comparison of Experienced, Novice, and Student Teachers,” Journal of Research in Music Education 44, no. 4 (1996), 286. Jacqueline C. Henninger, Patricia J. Flowers, Kimberly H. Councill, “Pedagogical Techniques and Student Outcomes in Applied Instrumental Lessons Taught by Experienced and Pre-Service American Music Teachers,” International Journal of Music Education 24, no.1 (2006), 72. Henninger, Flowers, Councill, “Pedagogical Technique and Student Outcomes,” 73. Henninger, Flowers, Councill, “Pedagogical Technique and Student Outcomes,” 73. Henninger, Flowers, Councill, “Pedagogical Technique and Student Outcomes,” 74. Henninger, Flowers, Councill, “Pedagogical Technique and Student Outcomes,” 77. Jacqueline C. Henninger, “The Effects of Performance Quality Ratings on Perception of Instrumental Music Lessons,” Update: Applications of Research in Music Education 27, no. 1 (2008), 9. Joanne Ruthowski, “The Measurement and Evaluation of Children’s Singing Voice Development,” Visions of Research in Music Education 16, no. 1 (1990), 81. Mary Ellen Junda, “Developing Readiness for Music Reading,” Music Educators Journal 81, no. 2 (1994), 37. Junda, “Developing Readiness for Music Reading,” 38. Junda, “Developing Readiness for Music Reading,” 39. Junda, “Developing Readiness for Music Reading,” 40. Mary Ellen Junda, “Part Singing Revisited,” Music Educators Journal 83, no. 6 (1997), 35. William E. Fredrickson, “Social Influence and Effects on Student Perception and Participation in Music,” Update – Applications of Research in Music Education, no. 2 (1997), 29. booktopia: Emotional Intelligence Why It Can Matter More Than IQ, accessed 5th June 2019, https://www.booktopia.com.au/emotional-intelligence-daniel-goleman/prod9780747528302.html. Alan C. Mcclung, “Extramusical Skills in the Music Classroom: This article proposes that extramusical skills can be taught in the music classroom alongside music skills,” Music Educators Journal 86, no.5 (2000), 38. McClung, “Extramusical Skills in the Music Classroom,” 38. McClung, “Extramusical Skills in the Music Classroom,” 39. McClung, “Extramusical Skills in the Music Classroom,” 39. McClung, “Extramusical Skills in the Music Classroom,” 39. McClung, “Extramusical Skills in the Music Classroom,” 42. Alan C. Mcclung, “Using Video Self-Assessment to Enhance Nonverbal Conducting Gesture,” Choral Journal 45, no. 9 (2005), 26.

<urn:uuid:aeb08ab1-cfc0-4762-9877-6b12b3fa14d7>

CC-MAIN-2023-40

https://guidessay.com/pedagogical-methods-for-teaching-music/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506028.36/warc/CC-MAIN-20230921141907-20230921171907-00192.warc.gz

en

- How Science Works - Sources and Experts: Where to Find Them and How to Vet Them - Making Sense of Science Stats - Editing for Story - Editing Controversial Science - Holding Science to Account - Covering Health Care - Climate and the Environment - Fact-Checking Science Journalism: How to Make Sure Your Stories Are True Illustrating Complex Science Stories - The Role of Visuals in Science Journalism - The Process of Building Science-Centric Graphics - Strategies for Using Visuals to Put Breaking Science in Context - Special Considerations for Data Visualization - Uncertainty and Misinformation - Editorial Illustration, Photography, and Moving Images - Additional Reading and Resources - About the Author - Social Media and Reader Engagement - Popular Science - Op-Eds and Essays - About This Handbook Crafting Social-Media Posts for Science By Katie Fleeman / 12 minute read As a tool, social media can serve a number of purposes: - Broadcast/distribution: Reach (and increase) your audiences where they already are. This can include enticing readers to return to your site, attracting new audiences in a target demographic, and establishing your publication’s authority on a particular topic. - Monitor: Spot emerging stories, identify information needs within your audience, and find and cultivate sources. Interacting with readers can foster trust and help you check your own biases and weak spots. - Storytelling in its own right: Use tools particular to the platform to get information to your audience without sending them back to your own site. For example, news might first break via a tweet, with the full reported story to follow. What makes a good social-media post? Although each platform has its own specifications, these are the elements that routinely show up in most link-based social-media posts: - Headline: With a few exceptions, it will always appear whenever the story is shared on social, whether it’s a post from the publication’s handle or from readers sharing it on their own feeds. If you want any crucial information to follow the story around the internet, this is the place to write it. - Preview image: Auto-populates from the site. Similar to the headline, this will show up on most social-media platforms, regardless of who is sharing the link. - Deck: This line of text that sometimes follows the headline is often cut off on mobile, so don’t rely on it to convey information on social. - Post text: The copy that is written and published directly onto the social-media platform. It’s the Instagram caption, the text of a tweet, the text accompanying a Facebook video, etc. The headline, preview image, and deck are usually populated via metadata on your site. (On Twitter, these constitute a “card.”) Some content-management systems give you the ability to customize the headline, deck, and preview image for social media and/or search-engine optimization (SEO). With an understanding of the elements that get shared online, it’s time to think about the criteria that a social-media post must meet: - It’s accurate: While this may seem obvious, when you’re moving quickly and trying to condense a tricky, technical topic into a few characters, errors can creep in. Avoiding misleading sensationalism as well: if a headline unduly scares the reader of a social post, then it is probably inaccurate. - It’s self-contained: Social media’s click-through rates are typically low (think 1.64%), and social-media consumers are notorious for absorbing only the packaging. So craft every post with the goal of someone’s skimming it and walking away with an accurate understanding of the facts. - It’s within the length limits: Twitter has a 280-character limit. LinkedIn’s limit is 600. Headlines will get lopped off if they run long. Other platforms without stringent character counts have limitations as well; Facebook has a “fold,” at which some of a post will turn into a “read more.” It’s important to get the crux of your message in before it’s cut off. (For an up-to-date list of character limits, check out Sprout Social’s Know Your Limit: The Ideal Length of Every Social Media Post) How long should my post be? There are different schools of thought when it comes to the ideal length. Conventional wisdom is “the shorter the better” – but you may encounter stories in which including additional context is wise. Editorial discretion comes into play: A lighthearted story may be well-served with just a few quippy words or emoji, but a serious or complicated topic may call for more. Take care not to shorten or oversimplify to the point of creating an error or obfuscating the facts. See, for example, this Twitter post about the evolution of cells to encode proteins: Biologists were quick to point out the error: Note, though, that the source handled it with a friendly tone, so as not to alienate the audience. A common trope in social media is to post question-style headlines. There’s an old headline mantra that says, “If the headline is a question, then the answer is ‘no.’” But, for social media, question headlines can be even more problematic, turning them into misleading implications. As Brandon Echter, engagement editor at Snopes.com puts it: If a rumor is: Does Brandon Echter eat five-day-old rotten lettuce? I would put in a tweet to that [story] either a ‘false’ notification or say, ‘It's absurd that Brandon would even think of eating lettuce, eating rotten lettuce is literally bad for you.’ [I want to include] something that will be a background indication that this is false, because what you don't want to happen is [for] me to share this fact check: ‘Does Brandon eat five day old rotten lettuce?’ And have an emoji of a gasping face 😱. Because that makes it look like, ‘Oh my god, you won't believe the answer! Of course Brandon does it!’ and can be very easily pulled out of context. Of course, those are just minimum standards. Once you’ve cleared those basic hurdles, you can start working to make a post sparkle and stand out — especially if you’re able to test posts to see which ones work the best. Zapping the Jargon Frankie Schembri, audience-engagement editor at Undark, encapsulates the goals and challenges of communicating using social media’s brief, quippy format: One, your objective is to get the reader or the user to notice the tweet. Two, get them to read the tweet. And then from the tweet, ingest, and get some sort of fact or interesting quote or anecdote from the story. And within that self-contained message, come away with something that is accurate and actionable. If all goes well, they will then click the link and actually read the story, but even if they don't, even if they just retweet it without reading it — which you hope they never do, but people likely always do — you want that self-contained package of the headline, the deck, the image, and the copy to be an accurate, self-contained representation of what the article is. And that's a very tall order for 280 characters. In meeting that goal, you have a fraction of a second to catch a potential reader’s eye. Technical, complicated, or unfamiliar language can cause them to scroll on past. Plus, you rarely have the space on social media to define complex scientific jargon. So it’s important to make your posts accessible. If we’re writing about a new species of deer, I’d much rather have ‘New Species of Deer’ [in the headline] than ‘New Species of Whatever the Binomial Nomenclature’ is.Sukee Bennett, audience-engagement editor, NOVA That said, “accessible” is a subjective term, and setting parameters is tricky: Just how technical you can get in your social-media copy depends on your editorial goals, your audience, and in some cases the platform: - If your audience consists of broader population, or you hope to communicate beyond the science-savvy, you may have to be careful with seemingly straightforward scientific terms. For example, if a study was conducted using C. elegans, then consider referencing “worms” or “animal trials” instead. - But if you are trying to reach a more scientifically sophisticated audience, defining or avoiding precise terms may come across as condescending. For example, a discipline-specific subreddit may consider it patronizing to refer to C. elegans as “worms.” Echter points out that some words might not seem obviously “inaccessible.” For example, the use of “theory” might not raise a flag, but as he points out, scientists and the general public interpret this word very differently. “For a scientist or researcher, ‘theory’ means that this is like 100 percent. This is basically as good as it gets. It’s very solid. Versus a regular person who isn’t a scientist, ‘theory’ [might mean], ‘Oh, we don’t actually know yet.’” This is an area where your readers will help you out: Monitor comments and replies to assess whether you are using too much jargon, and adjust accordingly. Showcasing the Story — Accurately This should be obvious, but it needs to be said anyway: Don’t bait and switch your audience. Provide a good and honest taste of the story you’re promoting, and make sure to match the tone of your social post with the tone of the story Start by using the same language and framing that are in the original article. If you, the reporter, or another editor has already labored over the precise wording, then why redo the work for the social-media post? As a general work-flow principle, I suggest you task writers with providing three or more prewritten social-media posts. But to whomever the responsibility falls, there are a few places in a story you can mine for social-media gold: - The lede - The nut graf - Interesting data or stats (contextualized properly) - Image captions - Quotes from a researcher (explaining the significance) - Quotes from someone affected by the science (e.g., a patient describing the impact) Asking a writer “How would you describe this as at a cocktail party?” can also elicit conversational gems about the work. Social media are highly visual, and compelling imagery will help your posts pop on the feed. Some estimates are that, at least on Twitter, including an image can boost a Tweet’s engagement by 35 percent. When adding images, make sure your link posts populate with preview images that fit the platform’s ideal dimensions. (For the most current image specs, check out Sprout Social’s Always Up-to-Date Guide to Social Media Image Sizes). You can also create standalone posts using gifs, photographs, graphics, data visualizations, illustrations, and videos. The upside is that they are highly shareable, which can help with the reach of your content. The downside is that even if you point back to the story in the text, they are not as easily clickable as a pure “link” post. Think of them as part of a diverse mix that will keep your followers engaged with the page. It should go without saying that you should put as much thought into selecting the appropriate image as you do in crafting the social-media text. Things to be thinking about include: - What does the preview image look like with the social headline? Remember that the caption on your website will not show up. Consider whether the combination of the preview image and the headline would create a misleading package. - Does the image evoke an emotion — and if so, is that emotion appropriate to the story? Vaccine stories are a popular example of misalignment of images and text. (Read Glendon Mellow’s critique of frightening vaccine images in news stories and accompanying list of alternative image sources.) - Is the image accurate? Check that scientists are wearing proper lab gear and correctly using their equipment; and that the species being described is the same species as the one being shown. - Is it accessible for all users? Adding “alt text” to images, and captions to videos, are tools for making posts inclusive to individuals with disabilities. - Are you applying the same editorial-art best practices for your social-media images that you use on the article? See our chapter on graphics and other visuals. This is where the “marketing” side of audience engagement kicks in. You have to step back from a story and critically ask yourself: What would make me want to read this story? One way is by taking advantage of the “curiosity gap,” a term coined in the early 1990s by George Loewenstein, of Carnegie-Mellon University. Curiosity comes when we feel a gap “between what we know and what we want to know.” By taking advantage of this framework, you can give readers a nibble of what they will learn if they click through and read the article. In the cringiest form, the curiosity gap manifests as clickbait — “Scientists Studied Headlines on Social Media… And You’ll Never Guess What They Found!” — that preys upon readers’ curiosity and manipulates them into clicking. That’s not what I’m advocating, of course. You want to be specific and interesting enough to be enticing, but without giving everything away. If a headline or post is too vague, potential readers may not realize that the story is something they would want to read; if the headline explains everything, they are given no reason to read more. This Scientific American tweet avoids both pitfalls and works well to entice the reader: In some cases, reserving information for the click-through might not be appropriate. Editors and reports should decide if there’s anything in particular that should not be gapped — is there “need to know” info that needs to be in the social-media post? That’s what this MIT Technology Review tweet about immunity passports and Covid-19 does, providing the essential piece of information (that at the time of posting, not enough was known about antibody-testing reliability and infection rates). Readers of the story will get more details, but even those who see just the social-media post will learn the key takeaways. In this example, the magazine opted not to “go hard” with a curiosity gap, because the reporter wanted the drawbacks of immunity passports to be evident without having to read the story. Making Sure it’s Time-Appropriate The news moves faster than ever, so it’s important that your social-media posts are created with an awareness of current events. If you post directly, in real time, you will probably already be thinking about the context in which your item appears. You can also consider resharing strong evergreen content that can provide crucial context to the news. However, many organizations use tools to schedule social-media posts to promote new articles and resurface archival pieces. If you use a scheduling tool, it’s important to keep tabs on queued content, in case it becomes irrelevant or inappropriate to breaking news. During natural disasters or other breaking-news events, it’s my philosophy to observe how people are using social media before jumping in with content. For example, if people in the midst of a wildfire are using certain hashtags to share evacuation information, I steer clear of using those hashtags on related — but not immediately relevant — stories that could slow down vital communication channels. Humanizing Your Approach Human experiences can make for compelling social-media content by showcasing the personal side of science, even when — or maybe especially when — the topic is technical. Highlighting the “people” (such as scientists or patients) and/or weaving a more casual, conversational tone into your social media helps keep the content more approachable. That’s an especially good tactic if you have to apologize for a technical error. Crafting posts that touch on personal or sensitive subjects, consider what the emotional experience might be for your audience — especially someone who might have difficulty encountering that content. Suicide is one such topic. Care must be given to how suicide is discussed, as mental-health experts have pointed out a direct correlation between media references and an increase in suicides. It’s a phenomenon known as “suicide contagion.” In addition, the conventional term, “committed suicide,” suggests that someone has committed a crime or sin, which carries with it blame or stigma. Experts recommend using the phrase “died by suicide.” Likewise, various communities have strong feelings about how they are described or the labels used to identify them. This is an issue that Chelsey Coombs, engagement editor at Spectrum, has dealt with in stories about people with autism. “Within the [autism] community, a lot of autistic people want to be referred to as ‘autistic people,’” Coombs says. “They don’t want to be referred to as ‘people with autism.’ And there are people on the other side of that as well.” Coombs says she wants to make sure people understand that her newsroom is listening to them, and that it refers to them using their preferred terms. That can be challenging when there is disagreement within the community itself. “There are some people who want to use solely ‘autistic people’ and some people who want to use ‘person with autism’ language,” she says. “But from my experience on social media, most autistic people want to be referred to as ‘autistic people,’ because reflects the fact that being an autistic person is something that informs like their entire self. They don’t think it’s a disease — which it’s not; it’s just another way that people think.” The Conscious Style Guide addresses this issue with an essay from AutisticaHoya.com, “The Significance of Semantics: Person-First Language: Why It Matters“. It sides with the “autistic person” framing but also points to other perspectives. Finally, keep in mind that if you enter online spaces that center vulnerable communities — characteristics such as medical conditions, neurodiversity, race, and gender — you are an outsider there. Take the time to consider respectful ways of speaking and interacting. Allow Yourself to Be Creative — and Test, Test, Test Guidelines are just those — guidelines. When it comes to your specific content and audiences, you will very likely find that you will have your own customized approaches. To that end, it is important to test and monitor different social-media tactics to see what works best for you. (Jump ahead to Analytics for more about analyzing results.) And don’t assume that what works today will work in six months. Tastes and norms evolve, so you want to keep testing your assumptions, updating them as necessary. When “Hedging” Goes Awry Including Writer Names/Handles in Social-Media Copy Depending on your philosophy, you may consider including your writer’s handle when posting non-opinion pieces as well. Some of it comes down to style. Here are some of the issues seen by Chaseedaw Giles, social-media manager at Kaiser Health News: Say the tweet goes viral: A lot of times people will like or retweet something without even reading the story, and they'll have no idea who wrote it. We want the reporters to get credit. Another part of our job, as I see it, is really highlighting these writers, because it's their work, and they spend so long on the stories, and they want to be seen for the work that they did. Other considerations: Are you trying to build up your own writer’s social-media profile? Do you have a “celebrity” writer whose byline might attract readers? Practically speaking, do you just want to notify writers when you’ve shared their stories? Excluding the handle is also common, so this is by no means a requirement.

<urn:uuid:af7734bc-bc60-43f1-aa4c-3580cd94462b>

CC-MAIN-2023-40

https://ksjhandbook.org/social-media-reader-engagement/crafting-social-media-posts-for-science/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233511386.54/warc/CC-MAIN-20231004152134-20231004182134-00591.warc.gz

en

Generative AI, a groundbreaking branch of artificial intelligence, has emerged as a powerful force reshaping modern technology. This cutting-edge technology possesses the remarkable ability to generate new and original content, challenging traditional notions of creativity and innovation. As Generative AI continues to evolve, it opens up a realm of possibilities, transforming industries, and revolutionizing the way we interact with technology. In this article, we will explore the significance of Generative AI, its role in redefining creativity, and the far-reaching implications it holds for the future of technology and human-machine interactions. Table of Contents Understanding Generative AI Generative AI is a subset of artificial intelligence that involves machines creating new and original content, such as images, text, music, and more, without explicit programming. Unlike other AI approaches that are designed for specific tasks and follow predetermined rules, Generative AI employs sophisticated algorithms and neural networks to generate creative and innovative outputs. This technology utilizes deep learning techniques, particularly Generative Adversarial Networks (GANs) and Variational Autoencoders (VAEs), to learn patterns and relationships within data and then produce novel outputs that resemble the original data. GANs, for example, consist of two neural networks – a generator and a discriminator – that work in tandem, with the generator creating data and the discriminator distinguishing between real and generated data. Generative AI’s unique ability to create new content that was not explicitly seen during training sets it apart from traditional AI, which typically relies on labeled datasets for specific tasks. This key distinction makes Generative AI an innovative tool for creative tasks, enabling machines to produce art, music, and literature, among other creative outputs, with astonishingly human-like qualities. Applications of Generative AI Generative AI has revolutionized various industries and opened up new possibilities for creativity and innovation. Some of its key applications include: Creative Content Generation Generative AI is widely used in art, music, and literature to create original and imaginative content. Artists, musicians, and writers can leverage Generative AI to produce unique artworks, compositions, and stories, expanding their creative horizons and exploring new artistic styles. Product Design and Architecture In product design and architecture, Generative AI plays a crucial role in generating innovative and optimized designs. By inputting specific parameters and constraints, designers can use Generative AI algorithms to automatically generate and explore countless design variations, leading to more efficient and visually appealing outcomes. Fashion and Textile Design Fashion designers and textile artists benefit from Generative AI’s ability to generate patterns, textures, and designs. This technology helps in creating intricate and visually stunning fabrics and garments, pushing the boundaries of fashion and textile aesthetics. Video Game Development Generative AI is increasingly being integrated into video game development to create lifelike characters, landscapes, and environments. This enables game developers to build immersive and dynamic gaming experiences that feel more realistic and engaging to players. Image and Video Synthesis In computer vision, Generative AI is utilized for image and video synthesis tasks. It can generate realistic images from textual descriptions or create high-quality video frames, enhancing video processing and editing capabilities. Language Translation and Summarization Generative AI models are used to improve language translation and summarization systems. They can translate text from one language to another with greater accuracy and summarize lengthy articles or documents effectively. Virtual Assistants and Chatbots Generative AI powers conversational agents like virtual assistants and chatbots. These AI-powered chatbots can engage in more natural and human-like interactions with users, improving customer service experiences and automating routine tasks. Medical Research and Drug Discovery In the healthcare sector, Generative AI is used for medical image analysis and drug discovery. It helps researchers analyze medical images more accurately and efficiently and assists in generating potential drug compounds for various diseases. The applications of Generative AI continue to grow, and its impact on various industries is expected to be transformative, leading to more creative and efficient solutions in the years to come. The Creative Process with Generative AI Generative AI has redefined the creative process by collaborating with human creativity in various fields. It acts as a powerful tool that complements and enhances human imagination, leading to groundbreaking innovations and artistic expressions. Here are some examples of successful collaborations between Generative AI and human creators in different fields: Generative AI has enabled artists to push the boundaries of their creativity. By providing the AI with initial inputs or concepts, artists can use Generative AI algorithms to explore numerous artistic styles, create unique visualizations, and generate awe-inspiring artworks. The AI’s ability to offer unexpected insights and novel combinations has inspired artists to experiment and evolve their artistic visions. Musicians and composers have embraced Generative AI to compose original pieces of music. By feeding the AI with existing musical compositions, specific melodies, or even emotions, musicians can explore diverse musical arrangements and harmonies. The AI’s capacity to generate melodies that align with human preferences has led to the creation of captivating and emotive musical compositions. Design and Architecture Architects and designers collaborate with Generative AI to revolutionize their design processes. By inputting constraints, spatial requirements, and design objectives, they can leverage Generative AI to generate an array of design options and explore innovative architectural concepts. This collaborative approach has resulted in cutting-edge structures and more sustainable, efficient design solutions. Generative AI is driving product innovation across various industries. From creating intricate product designs to optimizing engineering parameters, Generative AI has proven invaluable in enhancing the product development process. By combining the AI’s computational capabilities with human insights, businesses can bring innovative products to market faster and more efficiently. Literature and Writing Authors and writers have employed Generative AI to experiment with narrative structures and explore imaginative storytelling. By inputting plot points, character attributes, or specific themes, Generative AI can generate unique storylines and narrative arcs. This collaboration allows writers to access new ideas and perspectives, enriching their storytelling repertoire. Virtual Worlds and Gaming Generative AI is instrumental in creating virtual worlds and gaming environments that captivate players. Game developers use the AI’s capabilities to generate diverse landscapes, characters, and interactive elements. This collaborative approach has led to more immersive and engaging gaming experiences. Fashion and Textile Design Fashion designers and textile artists work alongside Generative AI to produce innovative fabric patterns and designs. The AI’s ability to analyze vast datasets and experiment with different visual elements enables designers to create avant-garde and aesthetically pleasing fashion collections. The collaborative relationship between Generative AI and human creativity exemplifies how technology can augment human abilities, leading to groundbreaking advancements and inspiring creations. By leveraging the strengths of Generative AI in tandem with human imagination, creators can unlock unprecedented possibilities in their respective fields, shaping the future of art, design, and innovation. Advantages and Limitations of Generative AI Advantages of Generative AI in Creative Endeavors - Endless Creativity: Generative AI offers an infinite source of creative ideas and possibilities. Its ability to generate diverse variations and combinations empowers artists, designers, and innovators to explore new horizons and break away from conventional patterns. - Enhanced Productivity: By automating the creative process, Generative AI accelerates productivity and efficiency. It helps creators generate multiple options, compositions, or designs rapidly, saving valuable time and resources. - Inspiration and Exploration: Generative AI serves as a catalyst for inspiration and exploration. It provides fresh perspectives and unexpected insights that can spark new ideas and innovative approaches, fostering a culture of continuous experimentation. - Personalization: In various creative fields, Generative AI allows for personalized experiences tailored to individual preferences. From custom art recommendations to unique music compositions, the AI adapts to cater to specific tastes and requirements. - Data-Driven Decision Making: Generative AI leverages vast datasets and analyzes patterns to make data-driven creative decisions. This data-driven approach enhances the accuracy and relevance of creative outputs, resonating better with audiences. - Redefined Boundaries: Generative AI challenges traditional boundaries and fosters interdisciplinary collaboration. By blending expertise from different fields with AI-driven creativity, new frontiers are explored, leading to groundbreaking cross-disciplinary innovations. Limitations and Potential Ethical Concerns - Lack of Originality: Despite generating novel content, Generative AI’s output is often based on patterns observed in existing data. This raises concerns about the authenticity and originality of the creative output, potentially leading to copyright issues. - Bias and Discrimination: If the AI is trained on biased datasets, it may inadvertently produce content that perpetuates stereotypes or reflects discriminatory views. Ensuring ethical training data and algorithms is crucial to avoid such biases. - Intellectual Property Concerns: Determining ownership and copyright of AI-generated content can be complex and contentious, as it involves multiple stakeholders, including the AI creator, the human collaborator, and the AI itself. - Ethical AI Use: As Generative AI evolves, ethical considerations regarding its applications and potential societal impact become crucial. Striking a balance between AI-driven creativity and human values is vital to prevent misuse or harmful implications. - Overreliance on AI: Relying solely on Generative AI for creative endeavors may diminish the role of human creativity and intuition. Striking a balance between AI augmentation and human creativity is essential to preserve the essence of human expression. - Trust and Transparency: For Generative AI to gain widespread acceptance, it must be transparent and trustworthy. Users should be aware when AI is involved in the creative process, and they should have control over the AI’s output. Generative AI in Industries Impact of Generative AI in Entertainment and Media - Content Creation: Generative AI has revolutionized content creation in the entertainment industry. It enables the generation of music, art, scripts, and even virtual characters, opening new avenues for creativity and storytelling. - Personalized Content: Generative AI tailors content to individual preferences, providing personalized recommendations for movies, music, books, and other media. This enhances user engagement and satisfaction, leading to increased customer loyalty. - Visual Effects and Animation: In film and animation, Generative AI enhances visual effects and automates the animation process. It expedites the creation of intricate scenes and special effects, making filmmaking more efficient and cost-effective. - Virtual and Augmented Reality: Generative AI drives the development of virtual and augmented reality experiences. It generates realistic 3D models, environments, and interactive elements, enriching immersive storytelling and gaming experiences. - Creative Assistance: Writers, designers, and artists use Generative AI as a creative assistant, providing ideas, designs, and inspirations that can be further developed and refined by human creators. Integration of Generative AI in Healthcare and Scientific Research - Drug Discovery and Development: Generative AI accelerates drug discovery by simulating molecular structures and predicting potential drug interactions. It expedites the identification of promising drug candidates, reducing time and costs in the research and development process. - Medical Imaging Analysis: Generative AI enhances medical imaging analysis by generating high-resolution images and denoising low-quality scans. It aids in early detection of diseases and supports accurate diagnoses. - Personalized Medicine: Generative AI assists in tailoring medical treatments and interventions based on individual patient data. It analyzes vast datasets to identify personalized treatment plans and predictive health analytics. - Research Exploration: In scientific research, Generative AI explores complex datasets, identifying patterns and making predictions in fields such as climate modeling, genomics, and astrophysics. - Robot-Assisted Surgery: Generative AI enables robot-assisted surgeries, providing precision and control during surgical procedures. It enhances surgeons’ capabilities, leading to improved patient outcomes and reduced risks. - Drug Formulation Optimization: Generative AI aids in optimizing drug formulations by suggesting ideal compositions and dosage forms, streamlining the pharmaceutical manufacturing process. Generative AI has made a profound impact in entertainment and media, revolutionizing content creation, personalization, and immersive experiences. In healthcare and scientific research, it has accelerated drug discovery, personalized medicine, and enhanced medical imaging analysis. As Generative AI continues to evolve, its integration in these industries will foster greater creativity, efficiency, and advancements. However, addressing ethical considerations, ensuring data privacy, and maintaining human control and decision-making remain critical to harnessing Generative AI’s full potential and reaping its benefits responsibly. By leveraging Generative AI’s capabilities across diverse industries, businesses can achieve breakthrough innovations and deliver unparalleled value to their customers and stakeholders. The Future of Generative AI Generative AI has already made significant strides, transforming various industries and redefining creativity. As technology continues to advance, the future of Generative AI holds great promise and potential. Here are some predictions for the evolution of this groundbreaking technology: - Enhanced Creativity and Innovation: Generative AI will continue to play a crucial role in enhancing creativity and innovation across diverse domains. It will empower creators and artists with more sophisticated tools, enabling them to push the boundaries of their craft and create entirely new forms of art, music, literature, and design. - Cross-Domain Collaboration: Generative AI will facilitate unprecedented cross-domain collaborations, where creativity and expertise from different fields converge. Artists, scientists, and engineers may collaborate to create novel solutions, fostering breakthroughs in technology, medicine, and sustainability. - Human-AI Symbiosis: The future of Generative AI lies in its symbiotic relationship with human creators. Instead of replacing human creativity, AI will augment and complement it, offering new perspectives and possibilities that human minds may not have considered. - Ethical AI Practices: As Generative AI becomes more prevalent, ethical considerations will gain increasing importance. Strides will be made in developing frameworks to ensure responsible AI usage, safeguarding against biases and potential misuse. - Natural Language Understanding: Generative AI will become more proficient in understanding and generating natural language. This advancement will lead to more fluid and intuitive interactions with AI systems, creating seamless user experiences. - AI for Social Good: Generative AI will be leveraged to address critical social challenges, such as environmental sustainability, healthcare, and education. AI-generated solutions may aid in climate modeling, disease detection, and personalized learning, making a positive impact on society. - Exploring Uncharted Domains: Generative AI will venture into uncharted territories, including generating scientific theories, inventing new materials, and exploring space. This shift could lead to groundbreaking discoveries and propel humanity’s understanding of the universe. - Democratization of Creativity: With Generative AI tools becoming more accessible, creativity will be democratized, allowing people from diverse backgrounds to express themselves artistically. This inclusivity will foster a rich tapestry of artistic expression and cultural diversity. - AI in Decision-Making: Generative AI will play an essential role in data-driven decision-making across industries. It will aid professionals in generating insights, making predictions, and optimizing processes for better outcomes. - Quantum Generative AI: As quantum computing advances, Generative AI may leverage quantum capabilities to solve complex problems more efficiently. This quantum-enhanced Generative AI could revolutionize various scientific and computational domains. The future of Generative AI promises an exciting and transformative journey. With continued research, responsible implementation, and ethical considerations, this technology has the potential to revolutionize creativity, problem-solving, and human-machine interactions. As businesses and researchers explore the uncharted territories of Generative AI, they will unlock new possibilities and embark on a journey of innovation and discovery. By harnessing the full potential of Generative AI, we can usher in a new era of human-AI collaboration, where creativity, intelligence, and compassion converge to shape a better future for humanity. Leveraging Generative AI for Innovation Generative AI has emerged as a powerful tool for fostering innovation and driving business growth. By harnessing its creative potential and problem-solving capabilities, businesses can elevate their product development and streamline complex processes. Here are strategies for incorporating Generative AI into business processes and leveraging it for innovation: - Creative Content Generation: Generative AI can be employed to automate the creation of creative content such as art, music, and design elements. Businesses in the entertainment and marketing industries can use AI-generated content to enrich their campaigns and captivate audiences. - Product Design and Prototyping: Generative AI can assist in product design by rapidly generating diverse design options based on given parameters. This enables businesses to explore a broader range of possibilities, leading to more innovative and optimized products. - Data Analysis and Insights: By analyzing large datasets, Generative AI can uncover patterns and trends that might be overlooked by human analysts. Businesses can leverage these insights to make data-driven decisions, optimize processes, and identify new opportunities. - Optimizing Supply Chains: Generative AI can optimize supply chain operations by forecasting demand, streamlining inventory management, and improving logistics. This ensures that businesses can operate more efficiently, reduce costs, and meet customer demands effectively. - AI-Driven Prototyping and Testing: Generative AI can be used to simulate and test prototypes virtually, significantly reducing the time and costs associated with physical prototyping. This enables businesses to iterate and refine designs swiftly before moving to production. - Innovative Problem-Solving: Generative AI can be applied to complex problem-solving scenarios. For instance, businesses in engineering and scientific research can use AI to explore various solutions and hypotheses, accelerating the innovation process. - Personalized Customer Experiences: By analyzing customer data, Generative AI can personalize interactions, product recommendations, and marketing campaigns, enhancing the overall customer experience and fostering brand loyalty. - Natural Language Processing Applications: Generative AI’s natural language processing capabilities enable businesses to automate customer support through chatbots and virtual assistants, ensuring 24/7 availability and improved customer satisfaction. - AI-Generated Creativity: Businesses can use AI-generated content to inspire their creative teams, providing new ideas and insights that spark innovation across various departments. - Continuous Learning and Improvement: It is essential to continually train and refine Generative AI models based on real-time data and user feedback. This ensures that the AI system stays up-to-date and relevant, producing more accurate and valuable results over time. Generative AI is a game-changer for businesses looking to innovate, streamline processes, and stay ahead in today’s competitive landscape. By incorporating Generative AI into various aspects of their operations, businesses can unlock new levels of creativity, problem-solving, and customer engagement. Embracing this transformative technology allows organizations to reimagine possibilities, improve decision-making, and create meaningful experiences for their customers. As Generative AI continues to evolve, its role in driving innovation will only become more prominent, making it an invaluable asset for businesses striving for growth and success in the digital era. Nurturing Creativity with Generative AI Generative AI has revolutionized the creative landscape, offering exciting possibilities for artists, designers, and innovators to explore uncharted territories. Embracing Generative AI tools can stimulate creativity, foster experimentation, and lead to groundbreaking discoveries. Here’s how businesses can nurture creativity with Generative AI: - Exploration and Playfulness: Encourage creative teams to explore Generative AI tools with a sense of playfulness and curiosity. By approaching AI as a tool for experimentation rather than a rigid system, teams can uncover unexpected outcomes and novel ideas. - Idea Generation Sessions: Organize brainstorming sessions centered around Generative AI applications. Invite team members to share their insights and use AI-generated outputs as springboards for new concepts. - Cross-Disciplinary Collaboration: Foster collaboration between different departments, such as artists, engineers, and data scientists. This interdisciplinary approach can lead to innovative solutions and novel applications of Generative AI. - Failure as a Learning Opportunity: Emphasize that failure is an inherent part of the creative process. Encourage teams to learn from unsuccessful AI-generated outputs and iterate upon them to achieve better results. - Customizing AI Models: Empower creative teams to tailor AI models to suit their specific needs. The ability to customize parameters and input data can yield more personalized and unique results. - Embracing Serendipity: Generative AI often produces unexpected and serendipitous outcomes. Encourage teams to embrace these happy accidents as sources of inspiration and creative breakthroughs. Fostering a Culture of Innovation through Generative AI - Leadership Support: Foster a culture of innovation by receiving active support from leadership. Demonstrate the value of Generative AI in achieving business objectives and encouraging its integration across the organization. - Learning and Upskilling: Invest in training and upskilling employees to effectively use Generative AI tools. Providing learning opportunities encourages employees to experiment and stay ahead of industry trends. - Idea Incubation: Create spaces or platforms where employees can showcase and discuss their AI-generated ideas. This fosters a sense of community and motivates others to explore Generative AI. - Recognition and Reward: Recognize and reward employees for their creative and innovative contributions involving Generative AI. Celebrating successes encourages a culture of continuous improvement and experimentation. - Hackathons and Innovation Challenges: Organize hackathons and innovation challenges centered around Generative AI applications. This allows employees to collaborate, compete, and generate innovative solutions. - Integration in Workflows: Integrate Generative AI tools into everyday workflows to ensure a seamless adoption. The easier it is for teams to access and use AI, the more they’ll be inspired to experiment. Generative AI holds immense potential for nurturing creativity and fostering a culture of innovation within organizations. By encouraging exploration, experimentation, and cross-disciplinary collaboration, businesses can unlock the true power of Generative AI and inspire their teams to push creative boundaries. Embracing a culture that embraces serendipity and views failure as a stepping stone to success will pave the way for groundbreaking discoveries and transformative solutions. With leadership support, learning opportunities, and recognition for creative contributions, businesses can harness the full potential of Generative AI and drive their organizations to new heights of innovation. How Pillar Support Can Help! At Pillar Support, we are passionate about unlocking new possibilities and fostering innovation across various industries through the power of Generative AI. Our “Human Preservation” service is designed to revolutionize the way you access and utilize data, saving you time, and enabling seamless communication with your knowledge base. Benefits of “Human Preservation” Service - Easy Access to Data: With our Generative AI service, you can effortlessly access vast amounts of data at your fingertips. No more hours spent searching for information; simply ask and receive answers in natural language, just like interacting with ChatGPT. - Time Savings: Time is a valuable resource, and our service is here to help you make the most of it. By utilizing Generative AI, you can swiftly retrieve the information you need, cutting down on tedious research tasks. - Natural Language Interaction: Our service allows you to interact with the AI in natural language, making the experience more intuitive and user-friendly. You can ask questions, request insights, and explore your knowledge base seamlessly. - Personalized AI ChatGPT: With “Human Preservation,” you can have your own private AI ChatGPT, customized to your specific requirements. It becomes your personal assistant, aiding you in your daily tasks and decision-making processes. - Empowering Knowledge Accessibility: Our service enables more people to access valuable knowledge without the need to read through every blog post, article, or book. The AI facilitates efficient knowledge dissemination across your organization or community. Join Pillar Support’s “Human Preservation” Service Today! Don’t miss out on the opportunity to leverage Generative AI’s potential and transform the way you interact with information. Embrace innovation, boost productivity, and stay ahead in your industry with our cutting-edge “Human Preservation” service. Contact us today to explore the endless possibilities of Generative AI and embark on a journey of seamless, data-driven excellence. Let’s revolutionize the way you preserve and access knowledge! Frequently Asked Questions What Is Generative AI Technology? Generative AI technology refers to a subset of artificial intelligence that focuses on creating new data or content rather than analyzing existing data. It utilizes algorithms to generate new and original outputs, such as images, music, text, or other creative content. What Are Generative AI Examples? Generative AI has various applications across different fields. Examples include: Art: Generative AI can create unique artworks, paintings, and digital designs. Music: It can compose original music and generate melodies and harmonies. Text: It can generate natural language text, including creative stories and poetry. Image: Generative AI can produce realistic images, deepfakes, or generate faces of non-existing people. Video: It can create synthetic video content or enhance video quality. What Is Generative AI vs Machine Learning? Generative AI is a subset of machine learning. While machine learning focuses on training models to make predictions based on existing data, generative AI goes beyond this by creating new data or content that did not previously exist. Generative AI uses techniques like Generative Adversarial Networks (GANs) and Variational Autoencoders (VAEs) to achieve its creative capabilities. Which Is Google’s Generative AI? Google has developed various generative AI models. One of the most notable ones is the Google Brain project called “DeepDream,” which transforms images into artistic, dream-like visuals. Additionally, Google has contributed to research in Generative Adversarial Networks (GANs) and other generative AI technologies for diverse applications.

<urn:uuid:77f13eea-5990-4645-bad6-197ee34c1131>

CC-MAIN-2023-40

https://www.pillarsupport.com/generative-ai/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233511023.76/warc/CC-MAIN-20231002232712-20231003022712-00392.warc.gz

en

Look at Figure 1 In Figure 1, all three children are of equal height. they cannot reach the fruits, the terrain’s unequalness. They need help. But, the help each one requires is different. They need boxes of different heights. By helping them with boxes of “appropriate height”, all three can reach the fruits. This is equity: Providing help appropriate to the degree of help needed. As we can see the degree of help needed varies not due to inherent biological differences. It is due to reasons outside their control. When we find group differences due to reasons other than biological causes such as age, sex, or genetic makeup, we are talking about equity. - Health equity is political. - Health equity is about social justice. - Health equity is about moral values. - Health inequities are unfair, - Health inequities are unjust, - Health inequities are avoidable. The above words are from Margaret Whitehead’s definition of health inequity. - Health inequities are not natural, - They are - socially produced, - and sustained by deeply entrenched unjust social systems. talking about health inequity goes beyond science. Science alone cannot determine which inequalities become inequities. - One’s theories of justice, - One’s theories of society, - One’s reasoning for how the inequity arose in that particular situation. Now, we will look at a real-world scenario. Look at Figure 2. It depicts deaths due to the COVID-19 virus reported in England. We can see that deaths were higher in the poorest areas. It is a classic case of health inequity. This social gradient surfaced all over the world. (Source: BBC News, 2020) The covid-19 pandemic brought the word “equity” right in front of us. We saw one classic example above. Vaccine equity is another classic example. Rich countries took most of the vaccine; they gave the poorer countries what was left: Leftovers. What is health equity? Health equity refers to “the absence of unfair and avoidable or remediable differences in health among social groups”. (WHO, 2010, Page 12). This absence of unfair and avoidable differences is with regard to the outcome. Irrespective of whatever the differences that we find among different social groups, all should be able to achieve an equal outcome. The key phrase here is the “health outcome”. We need to ensure all will reach an equal outcome. Now, let us look at the following definition. “Health equity means everyone has a fair and just opportunity to be as healthy as possible”. The RWJF has added another sentence to the above definition; That is to translate the concept into an actionable one; it goes as follows; “For measurable purposes, health equity means, - Reducing and ultimately eliminating disparities in health and, - Its determinants that adversely affect the marginalised and excluded groups”. What is health inequity? Health inequity is a difference in a health situation that is socially produced, systematic in its distribution across the population, and unfair (WHO, 2010, page 12). Health inequities are avoidable. This definition guides us to more focused actions. The relation between health inequity and health inequality (disparity) Health inequity is a sub-type of health inequality. Health inequality (disparity) refers to the difference in a health outcome and its determinants between population groups as defined by social, demographic, environmental, and geographic variables. (Source: CDC: Mortality and Morbidity Weekly Report, 2011). Why all health inequalities are not health inequities? Let us explore this confusion with an example; Look at Figure 3 below. It depicts the incidence of Downs Syndrome by women’s age. We can see that the risk of having a baby with Downs syndrome increases with women’s age. This is a health disparity. it is a biological variation. So, it is not a health inequity. In short, health equity is a valued judgement. Some authors recognise health inequity as “needs-adjusted health inequality”. The following two illustrations compare equity and equality. If we consider equality only, we give three boxes of equal height to the three children. Obviously, it does not ensure equal opportunities for all three children (Figure 4). The following two illustrations summarise the difference between health equality and equity. How to determine a health inequitable situation Deciding a particular health disparity as a health inequitable situation is not an objective description. It needs a moral judgement as we already saw earlier. W.C. Chang proposes asking the following question for a value judgement. - Can you attribute the observed variation in health status to a biological factor? If you do not have any plausible biological explanation, then, it could be due to one or more non-biological factors such as social, cultural, economic, and political. If that is the case, such differences are, If the observed difference is unnecessary and avoidable, then we ask the second question. - Is this inequality unjust and unfair? Now, the discussion can become debatable. Consider the following scenario. If we compare the life expectancies at birth in Russia and China with that of Western societies, it is clearly a difference in political ideologies. On the other hand, if we attribute the difference to either economic exploitation or colonialism by powerful countries, then we could say that there is health inequity. In addition to this reason, it could also be other reasons such as corruption. Types of equity: W-C- Chang mentions two terms to recognise inequitable situations; - Horizontal equity: Is there a “breach to equal treatment to equal people?” - Vertical equity: Is there an unequal treatment to unequal needs by the same authority?” Horizontal equity refers to “equal access or treatment to equal needs regardless of socio-economic factors”. In other words, “all equals must be treated equally”. All people with the same health conditions must be treated equally irrespective of their socioeconomic or socially constructed differences. In most countries, primary healthcare services show this horizontal equity. Research reveals that in OECD countries, horizontal inequity exists and it is pro-poor; on the other hand, specialized services and dental care are pro-rich. Examples of health equity: - Equal quality of healthcare for the same health needs irrespective of differences of socio-economic differences - Equal access for equal health needs; e.g. same waiting periods for the same health needs. - Equal healthcare services for areas with equal (age and gender-adjusted) standardised mortality rates What affects horizontal equity? Income, educational level, age, gender, place of residence, place of birth, and ethnicity influences horizontal equity. Assuring horizontal equity alone is not enough. why? We need to assure vertical equity as well. Vertical equity refers to “appropriate unequal access to health care for people with different needs”. In other words, people with greater clinical needs should have more access to care than those with lesser clinical needs. In other words, “all un-equals must be treated differently”; people with more needs must receive more support. But, we need to keep in mind that those in greater need do not seek attention. How do health inequities arise? Health inequities arise due to unequal exposure and vulnerability to illnesses as a result of our position on the social ladder. Assigning to social positions occurs in terms of income level, education attainment, gender, ethnicity etc. The 2010 WHO conceptual framework published by Solar and Irvin (Figure 6) describes the mechanisms of how social stratification happens and it results in unequal health outcomes. Since all these mechanisms are socially produced, health inequity is unfair, unjust, and avoidable. (Social determinants of health inequities): Figure 6 illustrates the 2020 WHO framework. It consists of much larger “structural determinants” and smaller “intermediary factors”. While the former is called “social determinants of health inequities” and the latter is called “social determinants of health”. Figure 7 depicts another useful mode that illustrates the same health inequity-causing mechanisms: The “Rainbow model”. Dahlgren and Whitehead published this model in 2006. This model divides the health inequity-causing mechanisms into four layers according to the degree of influence. For example, the biggest influence comes from the outermost layer and it can negate any achievement of the inner layers. Figure 7: Dahlgren and Whitehead’s “rainbow model” (Source: Dahlgren & Whitehead, 1991. Policies and Strategies to Promote Social Equity in Health. Stockholm, Sweden: Institute for Futures Studies) This post favours the 2010 WHO framework; hence let us explore it more. We will begin the journey from the left-most column of the framework: “Socioeconomic and political context” (Figure 6). The dominant political system as a structural determinant: For example, the richest 10 per cent in the USA own 74 per cent of wealth. In the UK, it is 44 per cent. More evidence is necessary in this area to understand better how political and market forces fuel health inequity. The political structure is the core determinant of society’s well-being. It shares every other determinant of health inequities and well-being. In this TED Talk, Nick Hanauer, an entrepreneur and venture capitalist, succinctly argues the limitations of the neoliberal economic mechanism. It does not mean that the other ideologies such as Marxism that restricts human dignity ensure health equity and wellness. The capitalism-marxism debate began as far back as the 19th century with the onset of the Industrial Revolution. As a guide, in 1891, Pope Leo XIII released the then-revolutionary masterpiece, Rerum Novarum. We cannot promote health equity without talking about the political ideology dominant in society in consideration. In 2006, the European strategies for tackling social inequities in health emphasised the importance of improving “political and market democracy” to empower the least powerful. And, the 2010 WHO framework also stresses that “the political nature of the endeavour needs to be an explicit part of any strategy to tackle social determinants of health” (page 7). Evidence exists that a high level of democracy reduces the impact of unfavourable economic and trade policies on infant mortality. Whatever the political choices we make, we can use the 1948 Universal Declaration of Human Rights as a guide to promoting health equity. The political choices we make become a reality through passing legislation by the people’s representatives at the political bodies. Then we formulate policies. Policy choices are guided by our values. The values can either be implicit or explicit. The WHO framework outlines three types of policies: Macroeconomic, social, and public. Macroeconomic policies cover the following areas: Fiscal, monetary, trade, the balance of payments, and the labour market. The social and public policies include land, housing, health, education, social welfare, water and sanitation etc. It also includes pandemics such as COVID-19. The framework emphasises the importance of tackling structural determinants as well while crafting policies. That is the single most significant lesson according to the framework. We must not design policies only to address much smaller intermediary factors of health inequity (page 7). This requires intersectoral action and social participation and empowerment at every level: Global, national, and local. Governance is the way a society organises itself to make decisions and implement those. It operates at every level: household, local, community, municipality, provincial, national, and global. It also includes all sectors: The state, civil society, and the private sector. We can measure the effectiveness of governance mechanisms by creating indicators along the following themes; - Perceived and objective social needs, - Civic participation, - Transparency in public administration, - Other laws, rules, and practices that set limits. Cultural and social values and norms: The dominant societal values and norms in any society shape the nature of the policies the society chooses. These values and norms may either be implicit or explicit. For example, our values towards the elderly, gender, sexuality and sexual orientation, race and ethnicity, and those living with physical and mental disabilities guide the policy options we adopt. The above forces create a social hierarchy. The above forces create a social hierarchy by stratifying community members into groups. We call this process social stratification. It occurs through the systematic unequal distribution of wealth, resources, power, prestige, and discriminatory practices (The WHO Framework, 2010. Page 20). Power needs special attention. How does power become unequal? This video clip illustrates how power originates and what we can do about it. Due to this unequal distribution, the higher-ups in the social ladder enjoy a disproportionately higher share than those on the lower down in the social ladder. Discriminatory practices also contribute to the stratification process. For example, assigning a lower position to women bring them down in the social location. This depends on society’s value system. As a result, this stratification occurs in relation to income level, education, level, gender, ethnicity etc. Social position decides our vulnerability. These different social locations lead to health inequities through differential (unequal) exposures and vulnerability (or susceptibility) to diseases and health conditions and unequal consequences of diseases and health conditions across different social groups. Let us see how it happens. Diderichsen, Finn, Timothy Evans, and Margaret Whitehead (2001) dissect these mechanisms under three headings. Unequal exposure to diseases Lower social positions are associated with unhealthy housing and workplace conditions that may lead to greater exposure to toxic substances and disease conditions. This unequal exposure to higher risk can deepen throughout their lives with time from “womb to tomb” (life course influence). This is because either advantages or disadvantages accumulate over time even from generation to generation. Unequal vulnerability to diseases Those in lower social positions may face more than one risk factor. As a result, the impact of one risk factor can be much more severe on them in the presence of other risk factors than those in upper social positions. Think of the COVID-19 virus. Its impact on lower social positions was more severe; more who were in lower social positions died of the virus when compared to those in upper social positions. Unequal socioeconomic consequences of ill health When those in the lower social position face a chronic disease or any Catastrophic health situation, its impact on their lives will be much more severe than its impact on those in higher social positions. (Social determinants of health) The structural determinants, discussed above, directly influenced intermediary factors(social determinants of health) (Figure 8). Those factors operate in our daily living and work conditions and places where we are born, grow, and age. The quality of such conditions is determined by our assigned social positions; the lower the social position on the social ladder, more the unfavourable conditions become. In the “rainbow model”, these determinants fall into Layer two. The framework identifies the following elements as intermediary factors; - Local physical environment (material circumstances): living and working conditions, neighbourhood environment, healthy food availability, affordability, accessibility etc. - Local psychosocial environment: stressful living, job stress, work-life balance etc. - Behavioural and biological factors: Physical activity opportunities, smoking and alcohol and other substance abuse. Figure 8: Intermediary factors Our physical environment matters critically; evidence suggests that “one’s zip code is more important than the genetic code”. The physical environment includes housing, air quality, neighbourhood, green space, built environments, transport systems, workplaces, schools, healthcare settings, social, private, and public places, government institutions etc. These also include income and wealth, physical environment, public safety, social environment, transportation, education, employment, health systems and services, and housing. Health system as an intermediary factor This framework departs from previous models by recognising the health system as a separate element of social determinants of health because it can modify the intermediary factors to some extent. Life course perspective as a determinant The impact of health inequities varies with the age we are in. For example, the health inequities’ impact on early childhood can carry with us as we age. This is because early “insults” to our body systems may not change through later experiences. This phenomenon is known as “biological programming”. The association between low birth weight and the later appearance of coronary heart disease is explained through this approach. Another theory related to the life course perspective is that either the risk factors or promotive factors “accumulate” as we age. we have developmental milestones, such as teenage, when the health inequity impact becomes more pronounced than in other periods. According to this “accumulation of risk” model, the damage to our body systems increases cumulatively with time (2010 WHO Framework, page 18). Social cohesion and social capital The framework places social cohesion and social capital in an unusual place, in-between structural determinants and intermediary factors. The development of social capital depends on the extent of citizen participation. How to advance health equity? To advance health equity, we have to upstream. However, we can find many entry points while sailing along downstream and midstream as well. I prefer using the following roadmap. I prefer using the following Public Health Agency of Canada’s 2018 road map. It captures the essence of health equity concepts and principles. - Adopt the human rights approach to act upon structural determinants and intermediary factors. - Intervene across the life course with evidence-based policies. - Intervene in both downstream and upstream situations. - Deploy both targeted and universal approaches. - Address both material issues and sociocultural elements of power, prestige, and exclusion. - Implement a “health in all” approach. - Carry out monitoring and evaluation. In addition to the above, the following strategies must be necessary to elevate health equity in the public health agenda. If we do not measure, we do not know. Assumptions become harmful. That should the be first step. We need to disaggregate data by the health inequity determinants discussed above. We have excellent precedents. WHO launched this tool in April 2023. It aims to make disaggregated data more accessible to everyone. This is managed by the Martin School of the University of Oxford. All data viz and text are freely available for any purpose. SDG tracker monitors Sustainable Developmental Goal 17 indicators. This tool gives us up-to-date Health inequalities in data. It is user-friendly and customisable. Need a paradigm shift: - From a wealth economy to a well-being economy We know that our societal values and norms shape our political structure and the policies we adopt. Therefore, we need a paradigm shift in our values. We must value a well-being economy, not a wealth economy. The WHO has already set up a Council on the Economics of Health for All. It aims to transform the existing paradigm, “good health for a good economy” to “a good economy for good health”. The Council sets out three fundamentals; - Health and the economy are interdependent, - Health for all is critical for overall resilience and stability in economies worldwide, - Shaping public and private investments in health is essential. The well-being economy movement: The well-being economy movement network, which began in 2018 in Scotland, Finland, and New Zealand, is gaining traction. In this TED Talk, Nicola Sturgeon, who served as First Minister of Scotland and Leader of the Scottish National Party (SNP) from 2014 to 2023 argues the limitations of the GDP as an indicator and the need to choose alternate indicators to measure the wellbeing economy. What we measure as a country’s success matters; it drives political focus. it drives public activity. We will go after wealth, not on well-being if we use the GDP as the indicator. GDP cannot measure well-being. It measures the output of all work. It cannot measure whether the work is fulfilling and worthwhile. For example, it puts value on illegal drug consumption but not on unpaid care. GDP measures the output of work that is even damaging to us, and the planet. - See the forest for the trees When we focus on individual well-being only, we fail to see the population’s well-being. It is akin to seeing only one tree because then, we cannot see what the forest looks like. It is different. Geoffrey Rose demonstrated it using data from public health. He showed that the causes of disease incidence in a population are different from the causes of cases. Without that shift in our thinking, we cannot upstream to advance health equity. Address determinants at all levels Addressing only one level of determinants does not close the inequality gap permanently. It requires interventions at all levels of determinants. We can consider the 2011 Rio Political Declaration of Social Determinants of Health as the highest global level commitment. We need to explore this further. Create a best Practices repository We can also find excellent documents and web portals that curate best practices aimed at advancing health equity. Following are a few of those; - 2013 Health Scotland document provides an excellent list of interventions to address structural determinants of health inequities at all three levels. If you have read this far and if you are aware of such repositories, I am inviting you to send them so that I will make this post more informative. Communicating health equity concepts is hard. We need to use creative methods such as storytelling, cartoons, and creative art etc. Fortunately, we have excellent tools and guides for use. Some of those are as follows; - Storytelling and illustrations This parable is being used in many situations and articles to describe what upstreaming public health refers to. The story goes as follows; ” I am standing by the shore of a swiftly flowing river, and I hear the cry of a drowning man. I jump into the river, put my arms around him, pull him to shore, and apply artificial respiration. When he begins to breathe, there is another cry for help. I jump into the river, pull him to shore, apply artificial respiration, and then just as he begins to breathe, another cry for help. back into the river again; Again and again, goes the sequence. You know I am so busy jumping them to shore, doing the same, that I have no time to see who the hell is upstream pushing them all in”. Together with the above parable, several public health agencies have created excellent illustrations; Irving Zola’s “Upstream-downstream parable”; Source: Sudbury and Districts public health Moving upstream; Source: NCCDH website - Illustrations and cartoons - A fence or an ambulance illustration and Joseph Malins’ poem The cartoon below appeared in the Iowa Health Bulletin in 2012 together with Joseph Malins’ poem about “A Fence or an Ambulance”. The poem is as follows; The poem relates to an imaginary city. The city council and citizens debate about what to do with the falling people from the cliff. ‘Twas a dangerous cliff, as they freely confessed, Though to walk near its crest was so pleasant: But over its terrible edge there had slipped A duke and many a peasant; So the people said something would have to be done. But their projects did not at all tally: Some said, “Put a fence around the edge of the cliff” Some, “An ambulance down in the valley.” But the cry for the ambulance carried the day. For it spread to the neighbouring city: A fence may be useful or not, it is true, But each heart became brimful of pity For those who had slipped o’er that dangerous cliff, And the dwellers in highway and alley Gave pounds or gave pence, not to put up a fence, But an ambulance down in the valley. “For the cliff is alright if you’re careful,” they said, “and if folks even slip or are dropping, it isn’t the slipping that hurts them so much as the shock down below-when they’re stopping,” So day after day when these mishaps occurred, Quick forth would the rescuers sally To pick up the victims who fell off the cliff, With their ambulance down in the valley. Then an old man remarked, “it’s a marvel to me that people give far more attention to repairing results than to stopping the cause, when they’d much better aim at prevention. Let us stop at its source all this mischief, cried he. “Come neighbours and friends, let us rally : If the cliff we will fence, we might almost dispense with the ambulance down in the valley.” “Oh, he’s a fanatic…” the politicians rejoined: “dispense with the ambulance Never! He’d dispense with all charities, too, if he could: no, no! We’ll support them forever. Aren’t we picking up folks just as fast as they fall? And shall this man dictate to us? Shall he? Why would people of sense stop to put up a fence? While their ambulance works in the valley?” But, a sensible few who, are practical too, Will not bear with such nonsense much longer They believe that prevention is better than cure And their thinking will soon be the stronger. Encourage them, then with your purse, voice and pen And (while other philanthropists dally) They will scorn all pretence, and put up a stout fence On the cliff that hangs over the valley. The above poem is a forerunner to Camara Jones’ “Cliff” analogy that appears below. - Camara Jones’ “Cliff analogy”: Camara Jones’ “cliff analogy” is a useful tool to understand and explain how health inequities arise at different levels in healthcare settings. The “cliff” analogy is three-dimensional. The following are the three dimensions; - Level 1: Differences in exposures and opportunities: The closeness to the cliff of some population groups (“vulnerable groups”) represents the differences in exposures and opportunities for safety. - Level II: Differences in access to care: The absence of safety nets that prevent falling from the cliff represents the differences in access to care. - Level III: Differences in Quality of Care: Ambulances below the cliff represent the differences in quality of care after entering a healthcare system such as a hospital. Then, she gives her approaches: - Change the terminology and narrative American Medical Association together with the Center for Social Justice published an excellent guide that helps us to change our narrative and language in our journey of popularising health equity concepts. Its preamble begins with this sentence. ” The field of equity, like all other scholarly domains, has developed specific norms that convey authenticity, precision and meaning”. The guide aims at physicians and healthcare workers”. Health inequities are produced and sustained by deeply entrenched social systems; we are maintaining them even with our everyday language. That means the unjust systems are embedded without us. That is why changing our language and narratives matter. Following are some examples that the document highlights; |Our daily language||Equity-focused alternative| |“diabetic”||A person living with diabetes| |“Homeless”||A person experiencing homelessness| |“disabled”||A person living with walking difficulty (mention the difficulty here)| |“COVID-19 cases”||Persons with COVID19| |“minorities”||People from (mention the name of the community)| - Government of Canada: Social determinants of health and health inequalities - About Fair Foundations and promoting equity: VisHealth Framework for Equity: 2015 - CDC health disparities and inequalities report: 2013 - Unequal treatment: Confronting race and ethnic disparities in healthcare, CDC, 2003 - What is health equity?; Robert Wood Jhonson Foundation, 2017 - Health equity series, George Washington University. - Methods to advance health equity: https://www.youtube.com/watch?v=seHu33_Jf48 - Relfess tool: to analyse your project through the lens of the social inequalities framework - Social Identities and Systems of Oppression - Let us talk about moving upstream - Key health inequalities in Canada, 2018 - 2003 NIH Landmark document on “unequal treatment” - Ontario 2016 Report on health inequity - Health Inequities in New Brunswick - 2013 health disparities report - Power, politics, and health - Communities in Action: Pathways to health equity - Power mapping - Power mapping organizer training - Causes of causes: Social determinants of health - Community health equity builders and a community health equity Charter - Health equity online course - Health Equity Toolbox from the University of Delaware - The Roots of Health Inequity - Health in All Policies - Institute for Health Equity - Social Determinants of Health, WHO - UN Sustainable Development Group

<urn:uuid:09df5bd6-605d-43e3-ba0a-d4df94853a15>

CC-MAIN-2023-40

https://theupstreamboat.com/promotehealthequity/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510219.5/warc/CC-MAIN-20230926175325-20230926205325-00890.warc.gz

en

Recess is more than just a break from the classroom; it’s a crucial aspect of a child’s development and well-being. In this blog, we’ll explore the numerous reasons why recess is important and why it should not be overlooked in the educational system. From physical health to social skills, recess plays a pivotal role in shaping our children’s lives. Let’s dive into the compelling reasons that highlight its significance. - 1 Reasons why recess is important - 1.1 Reason 1: Physical Health and Well-Being - 1.2 Reason 2: Social and Emotional Development - 1.3 Reason 3: Cognitive Benefits and Academic Performance - 1.4 Reason 4: Stress Reduction and Mental Health - 1.5 Reason 5: Enhanced Academic Engagement and Behavior - 1.6 Reason 6: Conflict Resolution and Problem-Solving - 1.7 Reason 7: Improved Attention and Classroom Performance - 1.8 Reason 8: Fostering Lifelong Healthy Habits - 1.9 Reason 9: Encouraging Creativity and Imagination - 1.10 Reason 10: Encouraging Independence and Responsibility - 1.11 Reason 11: Building Resilience and Grit - 1.12 Reason 12: Strengthening School Community and Peer Relationships - 1.13 Reason 13: Enhancing Sleep Quality and Overall Well-Being - 1.14 Reason 14: Cognitive Diversity and Learning Styles - 1.15 Reason 15: Nature and Environmental Awareness - 1.16 Reason 16: Cultural Appreciation and Diversity - 1.17 Reason 17: Stress Reduction for Educators - 1.18 Reason 18: Encouraging Lifelong Learning and Curiosity - 1.19 Reason 19: Stress Management and Coping Skills - 1.20 Reason 20: Fostering a Positive Attitude Toward School Reasons why recess is important Reason 1: Physical Health and Well-Being One of the foremost reasons why recess is essential is its significant impact on the physical health and well-being of children. In an age where screens and sedentary activities are becoming increasingly prevalent, recess offers a critical opportunity for children to engage in physical activity. First and foremost, regular physical activity is essential for maintaining a healthy body weight and preventing childhood obesity. According to the World Health Organization (WHO), childhood obesity has become a global epidemic, with serious health consequences such as diabetes, heart disease, and musculoskeletal disorders. Recess provides children with a natural outlet for physical activity, helping them burn calories and maintain a healthy weight. Moreover, physical activity during recess contributes to the development of strong and healthy bones and muscles. It improves cardiovascular health by enhancing heart and lung function. These physical benefits are not only important for immediate health but also establish lifelong habits that can lead to a healthier adulthood. Beyond the physical advantages, engaging in outdoor play during recess exposes children to sunlight, which is a natural source of vitamin D. Vitamin D is crucial for bone health and immune system function. Insufficient vitamin D levels can lead to conditions like rickets and weaken the immune system, making children more susceptible to illnesses. Additionally, recess provides a much-needed break from the prolonged sitting that is often required in the classroom. Prolonged sedentary behavior has been linked to various health concerns, including poor posture, decreased flexibility, and even mental health issues like anxiety and depression. Recess allows children to stretch their bodies, move around, and release pent-up energy, which can contribute to better focus and productivity when they return to the classroom. In summary, recess plays a pivotal role in maintaining and promoting children’s physical health and well-being. It helps combat obesity, fosters strong bones and muscles, and provides essential exposure to sunlight and vitamin D. By encouraging physical activity and movement, recess sets the foundation for a lifetime of healthy habits. Reason 2: Social and Emotional Development Another compelling reason for the importance of recess lies in its positive impact on the social and emotional development of children. Recess serves as a unique social laboratory where children learn valuable life skills and emotional intelligence. Firstly, recess provides an opportunity for children to interact with their peers in an unstructured environment. This unstructured playtime allows them to practice and refine their social skills, such as cooperation, communication, and conflict resolution. They learn to navigate social dynamics, form friendships, and negotiate rules and boundaries during games and activities. Furthermore, recess encourages the development of empathy and emotional regulation. Children experience a range of emotions during play, from excitement to frustration. They learn how to manage these emotions, express themselves, and understand the feelings of others. This emotional intelligence acquired during recess is crucial for building healthy relationships and coping with life’s challenges. Moreover, recess promotes inclusivity and diversity by bringing children of different backgrounds and abilities together. It’s a time when children can bond over shared interests, regardless of their academic or socio-economic differences. This inclusivity fosters a sense of belonging and reduces feelings of isolation, ultimately contributing to a more supportive and inclusive school community. In addition to interpersonal skills, recess allows children to explore and develop their creativity and imagination. Through imaginative play and games, they exercise their cognitive abilities and problem-solving skills. This aspect of recess is particularly important in a world that increasingly values creativity and innovation. In summary, recess is a vital arena for social and emotional growth. It cultivates social skills, emotional intelligence, inclusivity, and creativity. These skills are not only essential for a child’s overall development but also play a crucial role in their success and well-being throughout life. Reason 3: Cognitive Benefits and Academic Performance Contrary to the misconception that recess detracts from academic learning, research suggests that it has several cognitive benefits that can actually enhance academic performance. Firstly, physical activity during recess has a positive impact on brain function. It increases blood flow to the brain, which in turn improves cognitive function, memory, and attention. Studies have shown that children who engage in regular physical activity often exhibit better academic performance and concentration in the classroom. Moreover, recess provides a mental break from the demands of academic subjects. Just as adults benefit from short breaks during work, children need breaks from learning to recharge their cognitive resources. These breaks can lead to improved focus and productivity when they return to their studies. Incorporating physical activity into the school day through recess also supports executive function development. Executive functions are a set of mental skills that include working memory, cognitive flexibility, and inhibitory control. These skills are critical for problem-solving, planning, and goal setting, all of which are essential for academic success. Furthermore, recess promotes a holistic approach to education by recognizing the importance of both physical and mental well-being. When schools prioritize recess, they send a message that they value the overall development of students, not just their academic achievements. In summary, recess offers cognitive benefits that can positively influence academic performance. It enhances brain function, provides a mental break, supports executive function development, and reinforces the importance of holistic education. Reason 4: Stress Reduction and Mental Health Recess plays a crucial role in reducing stress and supporting children’s mental health. The school environment can sometimes be stressful, with academic pressures, social dynamics, and classroom routines. Recess provides a much-needed respite from these stressors. During recess, children have the freedom to choose activities that they enjoy, whether it’s playing sports, engaging in creative play, or simply relaxing outdoors. This autonomy and choice can help reduce stress and increase feelings of control and well-being. Additionally, physical activity during recess triggers the release of endorphins, often referred to as “feel-good” hormones. These endorphins help alleviate stress, boost mood, and reduce symptoms of anxiety and depression. Regular access to recess can contribute to better emotional regulation and overall mental health. Moreover, recess encourages a connection with nature and the outdoors, which has been linked to improved mental health. Spending time in green spaces and natural environments has a calming and restorative effect, reducing symptoms of attention deficit disorders and promoting a sense of tranquility. Reason 5: Enhanced Academic Engagement and Behavior Contrary to the misconception that recess disrupts classroom behavior, it actually enhances academic engagement and behavior when managed effectively. When children are given the opportunity to expend their energy and recharge during recess, they are more likely to return to the classroom focused and ready to learn. Physical activity stimulates the brain, leading to improved concentration and cognitive function. This translates into better classroom behavior as children are less likely to be restless or disruptive when they have had a chance to move and play. Furthermore, recess can serve as a reward for good behavior and academic effort. Knowing that they have a break to look forward to can motivate students to stay on task and behave appropriately in the classroom. It can also be used as a tool for teachers to reinforce positive behavior and classroom management strategies. Moreover, recess can provide a sense of balance to the school day, making it more enjoyable and reducing the perception of school as a purely academic and stressful environment. This balanced approach to education can lead to increased enthusiasm for learning and a more positive attitude towards school in general. Reason 6: Conflict Resolution and Problem-Solving Recess offers a unique opportunity for children to practice conflict resolution and problem-solving skills. In unstructured play settings, children often encounter disagreements or conflicts, whether it’s a disagreement over rules in a game or a dispute with a peer. These conflicts provide valuable learning experiences. Children learn how to negotiate, compromise, and find solutions to problems on their own. They develop communication skills by expressing their thoughts and feelings and listening to others’ perspectives. Moreover, recess allows children to experiment with different roles and leadership positions. They may take on roles such as team captain, game organizer, or mediator, which further enhances their interpersonal and leadership skills. These conflict resolution and problem-solving skills acquired during recess are transferable to various aspects of life, including school, family, and future workplaces. They equip children with the tools they need to navigate social challenges and build healthy relationships. Reason 7: Improved Attention and Classroom Performance Recess is not a time-wasting activity but rather an investment in children’s cognitive development. Studies have shown that children who have access to regular recess periods often exhibit improved attention spans and better classroom performance. When children engage in physical activity during recess, their brains receive a fresh supply of oxygen and nutrients, which can enhance their ability to concentrate and process information. This improved attention can lead to better retention of lessons and improved academic outcomes. Additionally, recess provides a mental break from the demands of structured classroom activities. This break allows children to recharge mentally, reducing the likelihood of mental fatigue and burnout during the school day. As a result, they are more likely to approach classroom tasks with renewed focus and enthusiasm. Moreover, recess fosters a sense of motivation and engagement in learning. When children have the opportunity to balance academic work with play and physical activity, they are more likely to view school as an enjoyable and holistic experience. This positive attitude can contribute to a lifelong love of learning. Reason 8: Fostering Lifelong Healthy Habits Last but not least, recess has the potential to instill lifelong healthy habits in children. When they experience the joy and benefits of physical activity during recess, they are more likely to carry these habits into adulthood. Children who engage in regular physical activity are more likely to lead active and healthy lifestyles as adults. They are less prone to sedentary behaviors and the associated health risks, such as obesity, heart disease, and diabetes. Moreover, the positive social experiences and friendships formed during recess can encourage children to participate in group activities and sports outside of school. This can lead to a lifelong love of sports and physical fitness. Furthermore, the emotional skills and resilience developed during recess can serve children well throughout their lives. They are better equipped to handle stress, build positive relationships, and navigate the challenges of adulthood. Reason 9: Encouraging Creativity and Imagination Recess provides an ideal setting for children to unleash their creativity and imagination. It’s a time when they can engage in unstructured play, create their own games, and explore their imaginative worlds. This type of play not only sparks creativity but also nurtures problem-solving skills. When children engage in imaginative play during recess, they exercise their minds in ways that structured learning cannot replicate. Whether they’re pretending to be explorers on a jungle adventure or inventing fantastical stories, these activities encourage abstract thinking, storytelling, and the ability to think outside the box. Furthermore, imaginative play allows children to explore different roles and scenarios, fostering empathy and a better understanding of diverse perspectives. These experiences can shape their future abilities to adapt, innovate, and appreciate the richness of human creativity. Reason 10: Encouraging Independence and Responsibility Recess provides an opportunity for children to develop independence and take responsibility for their actions. In the absence of constant adult supervision, children learn to make choices, manage their time, and resolve conflicts independently. During recess, children often organize their games, decide on rules, and negotiate disagreements among themselves. This experience empowers them to become more self-reliant and resourceful problem solvers. They learn that their actions have consequences, teaching them responsibility and accountability for their behavior. Furthermore, recess offers a unique space for students to practice making choices about how they spend their time. This freedom to choose activities and interact with peers allows children to develop decision-making skills that are essential for adulthood. Reason 11: Building Resilience and Grit Resilience and grit are qualities that are increasingly recognized as essential for success in life. Recess provides a testing ground where children can develop these traits by encountering challenges and learning to persevere. When children engage in outdoor play and games, they often face obstacles, setbacks, and even failure. These experiences offer valuable opportunities to learn resilience and grit as they bounce back from disappointments, keep trying, and develop a determination to overcome obstacles. Furthermore, recess fosters a sense of competition and friendly rivalry, which can motivate children to push themselves and strive for improvement. This competitive spirit, when channeled positively, contributes to the development of a growth mindset, where children believe that effort and perseverance lead to improvement. Ultimately, the resilience and grit developed during recess can serve children well throughout their lives, helping them tackle challenges, pursue goals, and bounce back from setbacks. Reason 12: Strengthening School Community and Peer Relationships Recess serves as a critical component in building a sense of school community and fostering positive peer relationships. It’s a time when children from different classrooms and grade levels come together to play, interact, and form friendships. These cross-grade interactions allow younger students to learn from older ones and vice versa. This mentorship and camaraderie contribute to a supportive and inclusive school environment where children feel connected and valued. Additionally, recess promotes inclusivity by providing opportunities for children of diverse backgrounds and abilities to interact and play together. It’s a time when children can appreciate differences, practice tolerance, and celebrate diversity, contributing to a more harmonious and accepting school culture. Furthermore, recess often involves cooperative play and teamwork, which strengthens peer relationships. Children learn to collaborate, communicate, and support each other during games and group activities. These positive social interactions build a foundation of trust and cooperation that can extend beyond the playground and into the classroom. Reason 13: Enhancing Sleep Quality and Overall Well-Being Regular physical activity during recess has a positive impact on children’s sleep quality and overall well-being. Exercise during the day helps children fall asleep faster and enjoy deeper, more restorative sleep at night. A well-rested child is more alert, attentive, and ready to learn in the classroom. Sleep is essential for cognitive functioning, memory consolidation, and emotional regulation. By promoting better sleep patterns, recess indirectly supports academic performance and emotional stability. Moreover, physical activity releases endorphins, which are natural mood boosters. Children who engage in regular physical activity during recess are often happier, less stressed, and more resilient in the face of challenges. Reason 14: Cognitive Diversity and Learning Styles Recess accommodates cognitive diversity and different learning styles among children. In a traditional classroom setting, students are expected to absorb information through lectures and structured lessons, which may not align with everyone’s preferred way of learning. During recess, children have the freedom to choose activities that match their individual learning styles. Some may engage in physical games that appeal to kinesthetic learners, while others might participate in group discussions or collaborative projects that cater to auditory or visual learners. This variety of activities allows children to explore and refine their unique learning preferences, which can lead to increased self-awareness and improved academic performance when they return to the classroom. Reason 15: Nature and Environmental Awareness Recess often takes place outdoors, exposing children to the natural world and promoting environmental awareness. Spending time in nature has been linked to numerous cognitive and emotional benefits, including reduced stress and increased attention. Recess in natural settings encourages children to connect with the environment. They might explore the flora and fauna, observe changes in weather and seasons, or simply appreciate the beauty of the outdoors. This connection to nature can instill a sense of stewardship and environmental responsibility, fostering a lifelong appreciation for the environment. Moreover, schools that incorporate green spaces and outdoor play areas for recess contribute to a more sustainable and eco-friendly campus design. This not only benefits children’s well-being but also supports ecological conservation efforts. Reason 16: Cultural Appreciation and Diversity Recess often involves games and activities that reflect cultural traditions and diversity. It’s a time when children can share and celebrate their cultural backgrounds, customs, and games with their peers. This cultural exchange during recess promotes cultural appreciation and understanding among students. Children learn to respect and value the differences in traditions, languages, and customs represented by their classmates. Moreover, it offers an opportunity for immigrant and multicultural students to share their heritage, fostering a sense of belonging and pride in their cultural identity. Reason 17: Stress Reduction for Educators Recess isn’t just beneficial for students; it can also have a positive impact on educators. Teachers and school staff often experience high levels of stress and burnout due to the demands of their profession. Recess provides a break for teachers as well. It offers a moment of respite during the school day, allowing educators to recharge and reduce stress. This break can improve their overall job satisfaction and well-being, which, in turn, can positively influence their teaching effectiveness. Additionally, recess can serve as an opportunity for teachers to engage in informal interactions with students. These moments can strengthen teacher-student relationships, enhance communication, and provide insights into students’ needs and interests. Reason 18: Encouraging Lifelong Learning and Curiosity Recess encourages curiosity and a love for lifelong learning. Children are naturally inquisitive, and recess provides the time and space for them to explore their interests and passions. During recess, children often engage in activities that spark their curiosity. Whether it’s investigating bugs in the playground, experimenting with creative projects, or having discussions with friends about various topics, these experiences nurture a thirst for knowledge. Furthermore, recess can serve as a time for informal learning. Children might share interesting facts, teach each other new skills, or engage in educational games. This type of learning is not driven by external requirements but by genuine interest and intrinsic motivation. Reason 19: Stress Management and Coping Skills Recess plays a pivotal role in teaching stress management and coping skills to children. Life is full of challenges and setbacks, and the ability to manage stress and cope with adversity is a valuable life skill. During recess, children encounter various situations that require them to manage stress and solve problems independently. This might involve resolving conflicts, dealing with disappointment, or adapting to unexpected changes during play. These experiences help children develop resilience and the ability to bounce back from setbacks. They learn that it’s okay to make mistakes, and they gain confidence in their ability to overcome challenges, which are essential skills for navigating the ups and downs of life. Reason 20: Fostering a Positive Attitude Toward School Finally, recess fosters a positive attitude toward school as a whole. When children associate school with not only academic learning but also with fun, play, and social interaction, they are more likely to have a favorable outlook on their educational experience. A positive attitude toward school can lead to increased motivation to learn, better attendance, and higher overall satisfaction with the educational process. Students who look forward to recess and enjoy their time at school are more likely to be engaged and enthusiastic learners. In conclusion, recess isn’t just about playtime; it’s an essential component of a child’s holistic growth. It fosters physical health, promotes social interactions, enhances cognitive development, and even contributes to emotional well-being. By recognizing and prioritizing the importance of recess, we can ensure that our children thrive not only academically but also in all aspects of life. So, let’s continue to advocate for and cherish the recess breaks that shape our future generations.

<urn:uuid:84cc8c4b-db57-4262-8ad6-915e9dc54f9c>

CC-MAIN-2023-40

https://questionsgems.com/why-recess-important/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506646.94/warc/CC-MAIN-20230924123403-20230924153403-00293.warc.gz

en

Explore play therapy techniques, benefits for children, training for therapists, and how this approach fosters emotional healing and growth. What is play therapy? Play therapy is a therapeutic approach that acknowledges that play is the natural language of children. Through play, children are able to express themselves, work through conflicts, and resolve emotional and mental issues. It provides a safe and supportive environment for children to explore their feelings, thoughts, and experiences. In play therapy, trained therapists utilize a range of toys and materials to engage children in various play activities. These activities allow children to communicate and process their emotions, build social skills, and develop coping mechanisms. Play therapy is particularly effective for children who may not have the language skills or emotional maturity to express themselves verbally. The age range typically targeted for play therapy is between 3 to 12 years old, although it can be beneficial for older children and even adults in some cases. By engaging in play, children are able to symbolically represent their inner world and recreate scenarios that may be troubling or challenging for them. Through this process, they are able to gain insight, develop problem-solving skills, and build resilience. Play therapy is grounded in the understanding that children's play has meaning and purpose. It provides a unique opportunity for children to explore and understand their thoughts and emotions in a safe and non-judgmental environment. When used effectively, play therapy can be a powerful tool for facilitating emotional growth and healing in children. - Play therapy allows children to express themselves through their natural language, play. - It provides a safe and supportive environment for children to work through conflicts and resolve emotional and mental issues. - Play therapy is beneficial for children within the age range of 3 to 12, but can also be effective for older children and adults. Theoretical Background of Play-Based Therapy One of the key theoretical frameworks in play-based therapy is the child-centered approach. This approach, developed by Virginia Axline, emphasizes the importance of unconditional positive regard, empathy, and genuineness in the therapeutic relationship. The therapist creates a safe space for the child to freely express their thoughts and feelings through play, without judgment or interpretation. The child is considered the expert in their own world, and the therapist acts as a facilitator, following the child's lead and supporting their exploration. Another theoretical framework used in play-based therapy is the filial approach. In this approach, parents or caregivers are trained to become active participants in their children's therapy sessions. They learn techniques and strategies to engage in therapeutic play with their child, promoting healing and growth within the parent-child relationship. This approach recognizes the significant role that parents play in their child's development and emotional well-being. The dyadic approach is another theoretical framework that focuses on the specific dynamics between the child and therapist. It emphasizes the importance of the therapeutic relationship in facilitating change and growth. The therapist actively engages with the child in play, building trust and attachment, and providing a nurturing and accepting environment. To become a competent play therapist, appropriate education and training are essential. Practitioners need a solid understanding of child development, play theory, and the application of therapeutic techniques within a play-based context. They must also possess excellent communication and interpersonal skills, as building rapport and establishing a strong therapeutic alliance is crucial in play-based therapy. In conclusion, the theoretical background of play-based therapy emphasizes the importance of play as a means of communication and healing for individuals, particularly children. The child-centered, filial, and dyadic approaches provide different frameworks for therapists to engage with their clients. By understanding these theoretical foundations and acquiring the necessary skills through education and training, practitioners can effectively facilitate therapeutic change through play. - Play-based therapy recognizes the importance of providing a safe and non-judgmental space for children to freely express themselves. - The filial approach involves training parents or caregivers to actively participate in their child's therapy, fostering healing within the parent-child relationship. - The dyadic approach highlights the significance of the therapeutic relationship between the child and therapist in promoting growth and change. 9 Benefits of Play Therapy Play therapy is a highly effective therapeutic approach that harnesses the power of play to promote emotional healing and growth in children. By providing a safe and non-judgmental space, play therapy offers numerous benefits that help children develop coping strategies, self-respect, empathy, and social skills. 1. Coping Strategies: Through play, children can explore and express their emotions, thoughts, and experiences. This process allows them to develop effective coping strategies to manage challenging situations and regulate their emotions. 2. Self-Respect: Play therapy helps children develop a sense of self-worth and self-esteem. By engaging in play, they can make choices, take risks, and experience success, fostering a positive view of themselves. 3. Empathy: Play therapy encourages children to understand and empathize with the emotions and experiences of others. Through play, they learn to consider different perspectives, enhancing their ability to relate to and support others. 4. Social Skills: Play therapy provides a fertile ground for children to develop and practice social skills. They can learn to communicate, negotiate, take turns, and resolve conflicts in a safe and structured setting. 5. Emotional Expression: Play therapy allows children to express their emotions freely without fear of judgment. This process helps them release pent-up feelings and develop a better understanding of their emotional experiences. 6. Behavior Management: Play therapy addresses behavioral disorders by helping children identify and understand the underlying causes of their problematic behaviors. By exploring these issues in play, they can develop healthier ways of expressing themselves. 7. Learning Disabilities: Play therapy can support children with learning disabilities by providing a hands-on and engaging approach to acquiring new skills and knowledge. Through play, they can enhance their cognitive abilities, problem-solving skills, and academic performance. 8. Trauma Recovery: Play therapy is particularly effective in helping children recover from traumatic events. In play, they can safely revisit and process their traumatic experiences, gradually integrating them into their narrative and finding healing. 9. Building Relationships: Play therapy facilitates the development of secure and trusting relationships between the child and therapist. This bond provides a solid foundation for the child to develop healthy relationships with others outside the therapy setting. Play therapy offers a wide range of benefits for children, including the development of coping strategies, self-respect, empathy, and social skills. It can also support children with behavioral disorders, learning disabilities, and trauma, offering a safe and healing space for emotional growth. Through play, children can find their voice, gain a better understanding of themselves and others, and ultimately thrive. What are Play Therapists? Play therapists are highly trained professionals who specialize in using play as a therapeutic tool to help children navigate their emotional and psychological challenges. These therapists have a deep understanding of child development, mental health, and the therapeutic power of play. Their role is to create a safe and nurturing environment where children can freely express themselves and work through their difficulties. Play therapists undergo extensive training and education to acquire the necessary skills and knowledge to effectively work with children. Many play therapists have a background in psychology, counseling, or social work, and they often hold advanced degrees in these fields. They are also required to complete specialized training in play therapy techniques and theories. Play therapists are responsible for assessing and diagnosing children's emotional and behavioral issues. Using observation, interviews, and various play techniques, they gain insights into the child's inner world and develop customized treatment plans. These therapists facilitate therapeutic play sessions, providing a wide range of play materials that allow children to explore and express themselves. Career paths for individuals seeking to become play therapists vary depending on their level of training and experience. Some may start by obtaining a bachelor's degree in psychology or a related field, followed by a master's degree in counseling. Others may pursue a doctoral degree in counseling or psychology to gain a higher level of expertise and specialization in the field of play therapy. Possible career paths for play therapists include working in private practice, schools, hospitals, community mental health centers, and non-profit organizations. They may also choose to specialize in specific areas, such as trauma-focused play therapy, play therapy for children with autism, or family-based play therapy. Overall, play therapists play a crucial role in helping children heal, grow, and develop resilience through the power of play. Their training, credentials, and expertise make them uniquely qualified to support children in their emotional and psychological well-being. - Play therapists undergo extensive training and education in child development and mental health. - They create a safe and nurturing environment for children to express themselves through play. 10 Different Play Therapy Approaches: From Jungian to Gestalt Play therapy is a versatile and dynamic field that encompasses a wide range of therapeutic approaches. Each approach brings its own unique features and techniques to help children address various psychological and emotional issues. Let's explore ten different play therapy approaches, from Jungian to Gestalt, and discover what sets each one apart. 1. Jungian Play Therapy: This approach draws on Carl Jung's theories of the collective unconscious and symbolic imagery. Therapists use play materials, such as miniatures and sand, to encourage children to explore their unconscious thoughts and emotions. 2. Gestalt Play Therapy: Rooted in the Gestalt therapy tradition, this approach focuses on the present moment and encourages children to fully experience their emotions. Therapists may use guided imagery, role-play, or art techniques to help children gain insight and integrate their thoughts and feelings. 3. Filial Therapy: In this approach, parents are actively involved in the play therapy process. Therapists guide parents in conducting play sessions with their children to strengthen the parent-child relationship, enhance communication, and promote emotional growth. 4. Cognitive-Behavioral Play Therapy: Building on cognitive-behavioral principles, this approach helps children identify and challenge negative thoughts and behaviors. Therapists may use games, puppets, or structured activities to teach problem-solving skills and promote positive changes. 5. Narrative Play Therapy: This approach uses storytelling and metaphorical play to help children create and narrate their own stories. Therapists encourage children to express their feelings, explore alternative perspectives, and develop resilience through the power of storytelling. 6. Expressive Arts Play Therapy: This approach combines various art modalities, such as painting, drawing, and sculpture, with play therapy techniques. Children can express themselves non-verbally and explore their emotions through the creative process. 7. Adlerian Play Therapy: Derived from Alfred Adler's theories, this approach focuses on helping children develop a sense of belonging and significance. Therapists use play to explore the child's mistaken beliefs and encourage the development of healthier thoughts and behaviors. 8. Ecosystemic Play Therapy: Within this approach, therapists consider the child's environment and relationships as vital components of the therapeutic process. By addressing systemic factors, such as family dynamics and community support, therapists aim to promote holistic healing. 9. Art Therapy: While not exclusively a play therapy approach, art therapy uses the creative process to promote personal growth and healing. Through exploration and expression in art-making, children can communicate, process emotions, and find self-discovery. 10. Sensorimotor Play Therapy: This approach incorporates sensory and motor activities to help children regulate their nervous systems and develop adaptive coping strategies. Therapists may use movement, touch, or sensory tools to promote self-regulation and emotional well-being. Each play therapy approach offers unique tools and techniques to address children's psychological and emotional challenges. By tailoring the therapeutic process to each child's needs, play therapists can create a safe and nurturing space for healing and growth. - Jungian Play Therapy encourages exploration of the unconscious through symbolic play materials. - Filial Therapy involves active parental involvement in the play therapy process. - Cognitive-Behavioral Play Therapy helps children challenge negative thoughts and behaviors through structured activities. Sand Play Therapy Sand play therapy offers a unique and powerful approach to play therapy sessions, providing children with a safe and non-threatening space to express their thoughts and emotions through the medium of sand. This therapeutic technique involves the use of a tray filled with sand and an array of objects, allowing children to freely create and manipulate their own worlds within the sand. In the sand play therapy process, children are encouraged to explore and interact with the sand using various tools and objects, such as miniature figurines, building blocks, and natural materials. They can construct landscapes, create stories, and rearrange the sand in any way that they wish. This process allows them to externalize their internal world and bring to light their deepest thoughts, fears, desires, and conflicts. One of the key benefits of sand play therapy is its ability to promote emotional healing and growth in children. Through the act of playing in the sand, children are able to access and process unconscious material, helping them to develop a deeper understanding of their own emotions and experiences. Sand play therapy provides a symbolic and non-verbal language for expressing and working through complex feelings and situations. - Sand play therapy offers a unique and powerful approach to play therapy sessions, allowing children to express their thoughts and emotions through the medium of sand. - By providing a safe and non-threatening space for children to create and manipulate their own worlds within the sand, sand play therapy allows them to explore their deepest thoughts and conflicts. - Sand play therapy promotes emotional healing and growth in children by helping them access and process unconscious material, leading to a deeper understanding of their own emotions and experiences. Play Therapy for Special Needs Play therapy is a therapeutic approach that holds immense potential in supporting children with special needs. These children often face unique challenges, and play therapy offers an effective means of addressing their specific needs and fostering their overall development. By creating a safe and supportive environment, play therapy allows children to express themselves, explore their emotions, and develop essential social and emotional skills. Children with conditions such as autism, ADHD, depression, anxiety disorders, and post-traumatic stress disorder can greatly benefit from play therapy. This approach provides them with a non-threatening space to engage in self-expression and promote their emotional well-being. Through play, children can learn to regulate their emotions, develop problem-solving skills, and enhance their social interactions. Play therapy for special needs encompasses various techniques, including directive play therapy and non-directive play therapy. In directive play therapy, the therapist takes an active role in guiding the child's play, providing structure and specific interventions to address targeted goals. On the other hand, non-directive play therapy encourages the child to lead the play and express themselves freely, allowing for self-discovery and personal growth. - Play therapy is a valuable tool for supporting children with special needs, creating a safe space for self-expression and skills development. - Conditions like autism, ADHD, depression, anxiety disorders, and post-traumatic stress disorder can be effectively addressed through play therapy. - Directive play therapy and non-directive play therapy are commonly used techniques in play therapy for special needs. In conclusion, play therapy offers a unique and effective approach for supporting children with special needs. By providing a safe and engaging environment, play therapy helps children express themselves, build essential skills, and promote their overall emotional well-being. Whether utilizing directive or non-directive techniques, play therapy can be a valuable tool in enhancing the lives of children with conditions such as autism, ADHD, depression, anxiety disorders, and post-traumatic stress disorder. Who are the Play Therapy Association? The Play Therapy Association plays a pivotal role in the field of play therapy by providing support, resources, and a sense of community for professionals working in this specialized area. As an organization, it aims to promote the effectiveness and ethical use of play therapy in helping children overcome various challenges and achieve positive outcomes. Accreditation requirements set by the Play Therapy Association ensure that play therapists possess the necessary skills and knowledge to effectively engage in this therapeutic approach. These requirements may include completion of specific training programs, supervised practice hours, and adherence to a code of ethics. By meeting these standards, play therapists can demonstrate their competence and commitment to providing high-quality care for their clients. The Play Therapy Association also offers different credentials to recognize and distinguish individuals who have achieved advanced levels of proficiency in play therapy. These credentials, such as Registered Play Therapist (RPT) or Registered Play Therapist-Supervisor (RPT-S), not only recognize the expertise of the play therapist but also provide assurance to clients and other professionals about their qualifications. - The Play Therapy Association supports professionals in the field of play therapy, promoting its effectiveness and ethical use. - Accreditation requirements ensure that play therapists possess the necessary skills and knowledge for effective practice. - Play therapists can attain various credentials, recognizing their expertise and commitment to high-quality care. 10 Real-Life Success Stories Play therapy has been proven to be an effective therapeutic approach in addressing a variety of issues, including trauma, anxiety, behavioral difficulties, and communication skills. Through real-life success stories, we can see how play therapy has made a positive impact on the lives of individuals, regardless of their age. Case 1: A young child who experienced a traumatic event found it difficult to express their emotions verbally. Through play therapy, they were able to use toys and art materials to communicate their feelings, facilitating the healing process and reducing anxiety levels. Case 2: An adolescent struggling with behavioral difficulties and anger management benefited from play therapy sessions. By engaging in play, they learned coping strategies, problem-solving skills, and healthy ways to express their emotions, resulting in improved behavior and social interactions. Case 3: A young adult with anxiety found relief through play therapy. Through the use of guided play activities, they were able to explore their anxieties, develop relaxation techniques, and build resilience, leading to a reduction in anxiety symptoms and improved daily functioning. Case 4: A child with communication difficulties made significant progress in their social skills through play therapy. By engaging in pretend play scenarios and interactive games, they developed language and social communication skills, leading to improved relationships with peers and family members. Case 5: An individual struggling with trauma and PTSD found healing through play therapy. By engaging in sensory play activities, such as sandplay therapy, they were able to process and release traumatic memories, resulting in reduced distress and improved emotional well-being. Case 6: A child with autism spectrum disorder experienced significant improvements in their social interactions and communication skills through play therapy. By engaging in play-based interventions specifically tailored to their needs, they developed foundational skills necessary for positive interactions and relationships. Case 7: A child with severe anxiety and phobias made progress through play therapy. By engaging in exposure-based play activities, they gradually confronted their fears in a safe and controlled environment, leading to a reduction in anxiety symptoms and an increase in their ability to cope with fear-inducing situations. Case 8: A child with attention deficit hyperactivity disorder (ADHD) improved their self-regulation and focus through play therapy sessions. By engaging in structured play activities and games that targeted their specific needs, they developed skills to manage their impulses and improve their attention span. Case 9: A child struggling with emotional regulation and self-esteem issues found healing through play therapy. By engaging in creative and expressive play activities, such as art therapy, they developed a sense of self-worth and learned healthy ways to express and manage their emotions. Case 10: An adult with a history of trauma and anxiety found solace and healing through play therapy. By engaging in guided play activities, they were able to explore and process their past experiences in a safe and non-judgmental environment, resulting in increased emotional resilience and improved overall well-being. 7 Publications into the Effectiveness of Play Therapy Due to the narrow word limit, it is not possible to provide detailed summaries of each publication. However, I will briefly mention seven publications that provide evidence of the effectiveness of play therapy: 1. Bratton et al. (2005) conducted a meta-analytic review of 93 research studies and found that play therapy was effective in reducing behavioral disorders, improving social skills, and enhancing overall psychosocial functioning in children. 2. Ray et al. (2020) examined the use of play therapy as an intervention for children with autism spectrum disorder. The study found that play therapy led to improvements in social communication skills, adaptive behavior, and overall well-being. 3. Landreth (2012) explored the effectiveness of child-centered play therapy with attention deficit hyperactivity disorder (ADHD) children. The study concluded that play therapy interventions resulted in reductions in ADHD-related symptoms and improved emotional regulation. 4. Lin et al. (2019) investigated the effectiveness of play therapy in children with emotional and behavioral difficulties. The study found that play therapy was associated with significant improvements in emotional development, interpersonal relationships, and overall psychosocial functioning. 5. Schaefer et al. (2010) conducted a meta-analysis of play therapy interventions for children with trauma-related symptoms. The findings indicated that play therapy was effective in reducing traumatic stress and improving coping strategies in children who experienced traumatic events. 6. Tseng et al. (2017) examined the use of play therapy for children with anxiety disorders. The study found that play therapy reduced anxiety symptoms and improved adaptive behaviors in children of different age groups. 7. Webb et al. (2019) explored the effectiveness of play therapy with children experiencing grief and loss. The study found that play therapy interventions facilitated the expression of emotions, reduced grief-related symptoms, and promoted healthy grieving processes. These publications provide evidence that play therapy is an effective intervention for various psychological difficulties in children, including behavioral disorders, anxiety, trauma, ADHD, autism spectrum disorder, and grief and loss.

<urn:uuid:8739715c-1846-42db-bad8-e7d95debf6d5>

CC-MAIN-2023-40

https://www.structural-learning.com/post/play-therapy

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506045.12/warc/CC-MAIN-20230921210007-20230922000007-00394.warc.gz

en

Values education is the process by which people give moral values to each other. According to powney j cullen m-a shlapp u. johnstonei love wikipedia. It can be an activity that can take place in any human organisation. During which people are assisted by others, who may be older, in a condition experienced to make explicit our ethics in order to assess the effectiveness of these values and associated behaviour for their own and others' long term well-being, and to reflect on and acquire other values and behaviour which they recognise as being more effective for long term well-being of self and others. There is a difference between literacy and education. There has been very little reliable research on the results of values education classes, but there are some encouraging preliminary results. One definition refers to it as the process that gives young people an initiation into values, giving knowledge of the rules needed to function in this mode of relating to other people and to seek the development in the student a grasp of certain underlying principles, together with the ability to apply these rules intelligently, and to have the settled disposition to do so Some researchers use the concept values education as an umbrella of concepts that include moral education and citizenship education instead. Values education topics can address to varying degrees are character, moral development, Religious Education, Spiritual development, citizenship education, personal development, social development and cultural development. - explicit values education is associated with those different pedagogies, methods or programmes that teachers or educators use in order to create learning experiences for students when it comes to value questions. Another definition of value education is "learning about self and wisdom of life" in a self-exploratory, systematic and scientific way through formal education. According to C.V.Good'value education is the aggregate of all the process by means of which a person develops abilities and other forms of behaviour of the positive values in the society in which he lives. Commonality in many "educations" - Moral education Morals as socio-legal-religious norms are supposed to help people behave responsibly. However, not all morals lead to responsible behaviour. Values education can show which morals are "bad" morals and which are "good". The change in behaviour comes from confusing questions about right and wrong. American psychologist Lawrence Kohlberg who specialized in research on moral education and reasoning, and was best known for his theory of stages of moral development, believed children needed to be in an environment that allowed for open and public discussion of day-to-day conflicts and problems to develop their moral reasoning ability. - Teacher education Cross has made a start at documenting some teacher training attempts. Multinational school-based values education schemes Living Values Education Programme This project of worldwide proportions inspired by the new religious movement called the Brahma Kumaris World Spiritual University incorporates twelve values (unity, peace, happiness, hope, humility, simplicity, trust, freedom, co-operation, honesty, courage, love), and has formed the basis of the whole-school ethos approach in schools such as West Kidlington Primary School, Kidlington whose head master Neil Hawkes and Values education coordinators Linda Heppenstall used the work and other programmes to help them form a values-based school. The Living Values Education Programme website lists 54 countries where values education projects are undertaken. Human Values Foundation The Human Values Foundation was established in 1995 to make available worldwide, a comprehensive values-themed programme for children from 4 to 12 years entitled "Education in Human Values". Its fully resourced lesson plans utilise familiar teaching techniques of discussion, story-telling, quotations, group singing, activities to reinforce learning and times of quiet reflection. Following the success of "EHV", a second programme was published – Social and Emotional Education ("SEE"), primarily for ages 12 to 14+ but it has also proved constructive for older children identified as likely to benefit from help getting their lives 'back on track. The programmes enable children and young people to explore and put into practice a wide spectrum of values with the potential to enrich their lives. Through experiential learning, over time participants develop a well-considered personal morality, all the while gaining invaluable emotional and social skills to help them lead happy, fulfilled, successful lives. Character education is an umbrella term generally used to describe the teaching of children in a manner that will help them develop as personal and social beings. However, this definition requires research to explain what is meant by "personal and social being". Concepts that fall under this term include social and emotional learning, moral reasoning/cognitive development, life skills education, health education; violence prevention, critical thinking, ethical reasoning, and conflict resolution and mediation. Lickona (1996) mentions eleven principles of successful character education. It seems to have been applied in the UK and the United States Science of Living Science of Living (Jeevan Vigyan; Jeevan = Life and Vigyan = Science) is a detailed program that complements the current educational approach with spiritual and value-based learning. While both mental and physical development is needed for a student's growth, Jeevan Vigyan adds a third pillar – that of emotional intelligence and morality (or values) – to education in schools and colleges. A combination of theory and practice, Jeevan Vigyan draws on the findings of various life sciences as well as nutritional sciences. Our parasympathetic nervous system and endocrinal system are known to be the drivers of our emotions and our behaviour. These biological centres can be influenced the Science of Living through a system of yogic exercises, breathing exercises, meditation and contemplation. Science of Living's source of inspiration is Jain Acharya Ganadhipati Shri Tulsi (1914–1997). His thoughts were further developed and expanded by Acharya Shri Mahapragya (1920–2010). Currently, Muni Shri Kishan Lal Ji, under the leadership of Acharya Shri Mahashraman, is the Principal of SOL. Examples of values education from around the world Taylor gives a thorough overview of values education in 26 European countries. The Australian Government currently funds Values education in its schools, with its own publications and funding of school forums on values education at all levels of education. It also helps in becoming a better person. A conference on "Moral Education and Australian Values" was held in 2007 at Monash University. The Indian Government currently promote Values education in its schools. The Ministry of Human Resource Development has taken a strong step to introduce values among schools and teachers training centres. Elementary school and middle school students from first to ninth grades will be taught the importance of life, to listen to others with different opinions, to be fair, respect their country and learn about foreign cultures. Teacher training institutions in Singapore all have curricular for learning to teach civics and moral education programmes – but students do not take these as seriously as they should due to lack of assessment. The reason has been said to be the lack of innovative teaching approaches such as discourse pedagogy. There is an obligatory school subject that includes the aspect of values education and Citizenship Culture and Ethics. It is taught in 7th or 8th grade of primary school. Besides this, there are two elective subjects that partly deal with values education: Religions and Ethics (for 7th, 8th, and 9th grade) and Philosophy for children (Critical thinking, Ethical exploring, Me and the other; for 7th, 8th, and 9th grade). The Slovenian educational system does not require special training in the field of values education for teachers that teach mentioned subjects. Values education is a part of Swedish schools. Whereas the formal curricula are about educating students to be competent democratic citizens by practising student participation, qualitative studies have shown that in everyday school life, values education and school democracy often appeared to be reduced to traditional disciplining with a high focus on rules and regulations. This in turn evokes some critiques among students. Most research on values education in Sweden is done by qualitative methods, especially ethnographic or field studies as well as a focus group and interview studies. Some studies have been conducted by survey and other quantitative methods. In addition, theoretical work with roots in Dewey and Habermas has been done on deliberative democracy and deliberative conversations in schools. In Thailand, values have traditionally been taught within the context of Buddhist religious education. Since 1982 there has been a revival of applied values as an extracurricular activity suitable for Buddhist, Moslem and Christian students alike to prepare Thai students for the effects of globalization. Since 1988 the British government, although not recognising or calling it values education, has promoted and respected values in the guise of spiritual, moral, social and cultural development (SMSCD) leaving the initiative to individual schools to decide how values education standards should be met. It is not clear whether there are standards of values education. The Government and state school systems have never called it "values education". Values education courses in Britain may be implemented in the form of government-supported campaigns such as Social & Emotional Aspects of Learning (SEAL, but are more often provided by local experts in the form of Living Values Education Programme. One headteacher in Cornwall has achieved national recognition for his work on character development and "virtues", at Kehelland Village School, based on Baha'i teachings. He was asked to develop the primary section of the University of Birmingham's Character Education pack for use with the national curriculum. - Democratic education - Educational psychology - Emotional and behavioral disorders - Holistic education - Moral psychology - Political philosophy - Social psychology - Society for Values in Higher Education - Special education - Value (ethics) - Powney, J., Cullen, M-A., Schlapp, U., Johnstone, M. & Munn, P. (2127). Understanding value education in the primary school. York: Reports Express. p. vii - Saterlie, M E (Chair) (1988) 1984 and beyond: a reaffirmation of values. A report of the task force on values, education and ethical behaviour of the Baltimore County Public Schools. Board of Education of Baltimore County, Towson, Maryland. - David Aspin (2000) However, the meaning of "initiation into values", "mode of relating to other people", "apply intelligently" and a "settled disposition" needs to be clarified. It is also useful to point out that values education can be conducted with people of any age. A clarification of some key terms in values discussions, in M. Leicester, C. Modgil & S. Modgil (Eds.), Moral education and pluralism: Education, culture and values (Vol. 4, pp. 171–80). London: Farmer Press. Archived 13 December 2007 at the Wayback Machine - Cheng, R. H. M., Lee, J. C. K. & Lo, L. N. K. (2006). Values education for citizens in the new century: meaning, desirability and practice. In R. H. M. Cheng, J. C. K. Lee & L. N. K. Lo (Eds.), Values education for citizens in the new century. pp. 1–35. Sha Tin: The Chinese University Press. - Mei-ling Ng, M. (2006). Valuation, evaluation, and value education – On acquiring the ability to value: A philosophical perspective. I R. H. M. Cheng, J. C. K. Lee & L. N. K. Lo (Eds.), Values education for citizens in the new century. pp. 49–66. Sha Tin: The Chinese University Press. - Taylor, M. (2006). The development of values through the school curriculum. R.H.M. Cheng, J.C.K. Lee & L.N.K. Lo (Eds.), Values education for citizens in the new century. pp. 107–31. Sha Tin: The Chinese University Press. - Taylor, M. (1994) - Cox, E. (1988). Explicit and implicit moral education. Journal of Moral Education, 17 92–97 - Halstead, J. M. (1996). Values and values education in schools. I J. M. Halstead, & M. J. Taylor (Eds.), Values in education and education in values (pp.3–14). London: The Falmer Press. - Sharp, A M (1984) Philosophical teaching as moral education. Journal of Moral Education, Vol 13, No 1. - Rowe, D and Newton, J (1994) You, me, us! Social and moral responsibility for primary schools. Citizenship Foundation, London. - Lipman, M (1987) Ethical reasoning and the craft of moral practice. Journal of Moral Education, Vol 16, No 2. - Fisher, R (1994) Moral education and philosophy in schools. NAVET Papers Vol X. - Kohlberg, L., Wasserman, E., & Richardson, N. (1975). The ideology of the Just Community School. In Recent papers on moral education, Kohlberg, L. (Ed.)., Cambridge, MA: Harvard University Press. - Kohlberg, L. (1985). The just community approach to moral education in theory and practice. In Berkowitz, M.N. & Oser, F. (Eds.), Moral education: Theory and application. Hillsdale, NJ: Erlbaum. - Kohlberg, L., Higgins, A., Power, F. C., (1989). Lawrence Kohlberg's Approach to Moral Education (Critical Assessments of Contemporary Psychology) Columbia University Press. - Cross, M (1995) Values education: a staff development manual for secondary schools. Framework Press, Lancaster. - Farrer, F. (2000) A Quiet Revolution: Encouraging Positive Values in Our Children (London, Rider). p. 35 - 'The ethics girls and boys of West Kidlington Primary'. The Independent, (London), 18 February 1999 by Frances Farrer - 'Researching a New Interface between Religions and Publicly Funded Schools in the UK'. Eleanor Nesbitt, Elisabeth Arweck, Warwick Religions & Education Research Unit (WRERU), Institute of Education, University of Warwick, Coventry, UK - http://www.livingvalues.net/profiles/index.html (accessed 27 February 2008) - Lickona, T. (1996) Eleven Principles of Effective Character Education, The Journal of Moral Education, 25(1), pp. 93–100. - Arthur, J., Deakin-Crick, R., Samuel, E., Wilson, K. & McGettrick, B. (2006) Character Education: The Formation of Virtues and Dispositions in 16–19-Year-Olds with particular reference to the religious and spiritual(Canterbury, Canterbury Christchurch University). - Lickona, T. (1992) Educating for Character: How Our Schools Can teach Respect and Responsibility By, Nyempho Khusumdam of KHASA B.The 1st Year at I.G.G. College Tezu. - "Jain Vishva Bharati, Ladnun, India". - I M, Taylor (Ed.), Values education in Europe: a comparative overview of a survey of 26 countries in 1993. pp. 1–66. Dundee: Scottish Consultative Council on the Curriculum. - Values Education | Values Homepage - "Moral Education and Australian Values"Conference (Monash University) - Thomas, E. (1992). Moral development, cultural context and moral education, In Chong, K.C. ed. Moral Perspectives and Moral Education. Singapore, University of Singapore Press. pp. 47–68 - Thornberg, R. (2009). The moral construction of the good pupil embedded in school rules. Education, Citizenship and Social Justice, 4, 245–61. - Thornberg, R. (2010). School democratic meetings: Pupil control discourse in disguise. Teaching and Teacher Education, 26, 924–32 - Wester, Maria (2008) "Hålla ordning, men inte överordning. Köns- och maktperspektiv på uppförandenormer i svenska klassrumskulturer. Umeå: Umeå University. - Alerby, E. (2003). "During the break, we have fun: A study concerning pupils" experience of school. Educational Research, 45, 17–28. - Bergmark, U. (2008). 'I want people to believe in me, listen to me when I say something and remember me': How students wish to be treated. Pastoral Care in Education, 24, 267–79. - Thornberg, R. (2006). Hushing as a moral dilemma in the classroom. Journal of Moral Education, 35, 89–104. - Thornberg, R. (2008). 'It's not fair!' – Voicing pupils' criticisms of school rules. Children & Society, 22, 418–28. - Aspán, M. (2009). Delade meningar: Om värdepedagogiska invitationer för barns inflytande och inkännande. Stockholm: Stockholms universitet. - Bergmark, U. (2007). Ethical learning through meetings with Others. The International Journal of Learning, 14, 105–12. - Bergmark, U. (2009). Building an ethical learning community in schools. Luleå: Luleå University of Technology. - Bergmark, U., & Alerby, E. (2008). Developing an ethical school through appreciating practice? Students' lived experience of ethical situations in school. Ethics and Education, 3, 41–55. - Colnerud, G. (2001). Regler och relationer – Lärarröster om värdegrunden. In Vad har värde i praktiken: Perspektiv på värdegrunden i skola, vård och omsorg. Konferensrapport: 18–19 maj 2001 (pp. 23–30). Lärarhögskolan i Stockholm. - Colnerud, G. (2007). Rättvisa i klassrummet. In K. Granström (Ed.), Forskning om lärares arbete i klassrummet (Forskning i fokus, nr 33, pp. 33–50). Stockholm: Myndigheten för skolutveckling. - Emilson, A., & Johansson, E. (2009). Communicated values in teacher and toddler interactions in preschool. In D. Berthelsen, J. Brownlee, & E. Johansson (Eds.), Participatory learning and the early years: Research and pedagogy. pp. 61–77) New York: Routledge. - Frelin, A., & Grannäs, J. (2010). Negotiations left behind: In-between spaces of teacher-student negotiation and their significance for education. Journal of Curriculum Studies, 42, 353–69. - Grannäs, J. (2007). Peer engagement in learning democracy. International Journal of Learning, 14, 189–96. - Johansson, E. (1999). Etik i små barns värld (Göteborg Studies in Education¬al Sciences, No. 141). Göteborg: Acta Universitatis Gothoburgensis. - Johansson, E. (2002). Morality in preschool interaction: Teachers' strategies for working with children's morality. Early Child Development and Care, 172, 203–21 - Johansson, E. (2004). Learning encounters in preschool: Interaction between the atmosphere, view of children and of learning. International Journal of Early Childhood, 36, 9–26. - Johansson, E. (2007). Etiska överenskommelser i förskolebarns världar (Göteborg Studies in Educational Sciences, No. 251). Göteborg: Göteborgs universitet. - Johansson, E. & Johansson, B. (2003). Etiska möten i skolan. Stockholm: Liber. - Löfdahl, A. (2006). Grounds for values and attitudes: Children's play and peer-cultures in pre-school. Journal of Early Childhood Research, 4, 77–88. - Löfdahl, A., & Hägglund, S. (2007). Spaces of participation in pre-school: Arenas for establishing power orders? Children & Society, 21, 328–38. - Tholander, M. (2007). Working with rules: Lived democracy in school. Ethnography and Education, 2, 109–26. - Thornberg, R. (2008). School children's reasoning about school rules. Research Papers in Education, 23, 37–52. - Thornberg, R. (2008). The lack of professional knowledge in values education. Teaching and Teacher Education, 24, 1791–98. - Thornberg, R. (2010). A student in distress: Moral frames and bystander behaviour in school. The Elementary School Journal, 110, 585–608 - Thornberg, R. (2010). School democratic meetings: Pupil control discourse in disguise. Teaching and Teacher Education, 26, 924–32. - Frånberg, G-M. (2006). Lärarstudenters uppfattning om värdegrunden i lärarutbildningen. Tidskrift för lärarutbildning och forskning, 13 (1), 125–69. - Thornberg, R. (2010). A study of children's conceptions of school rules by investigating their judgments of transgressions in the absence of rules. Educational Psychology, 30, 583–603. - Westling Allodi, M. (2007). Assessing the quality of learning environments in Swedish schools: Development and analysis of an instrument. Learning Environments Research, 10, 157–75. - Englund, T. (2001). Deliberativa samtal som värdegrund – historiska perspektiv och aktuella förutsättningar. Stockholm: Skolverket. - Englund, T. (2006). Deliberative communication: A pragmatist proposal. Journal of Curriculum Studies, 38, 503–20. - Johansson, B. & Roth, K. (Eds.) (2003). Demokrati och lärande. Lund: Studentlitteratur. - Roth, K. (2001). Democracy, education and citizenship: Towards a theory on the education of deliberative democratic citizens. Stockholm: HLS Förlag. - Roth, K. (2006). Deliberation in national and post-national education. Journal of Curriculum Studies, 38, 569–89. - Kriengsak Chareonwongsakin (2006) "Values Education in Thailand: Preparation for Globalization, for the Academic Seminar for Values Education for Citizens in the New Century, pp. 319–45. Hong Kong: Hong Kong Institute of Educational Research, Chinese University Press - The Standards Site: Social and emotional aspects of learning... improving behaviour... improving learning - "Lessons in manners could go national". BBC News. 12 February 2015. - "Primary Programme of Study".

<urn:uuid:14efb567-faee-40e9-a8e9-e09edf931833>

CC-MAIN-2023-40

https://en.wikipedia.org/wiki/Values_education

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233508959.20/warc/CC-MAIN-20230925083430-20230925113430-00895.warc.gz

en

Natural language generation (NLG) is a software process that produces natural language output. A widely-cited survey of NLG methods describes NLG as "the subfield of artificial intelligence and computational linguistics that is concerned with the construction of computer systems than can produce understandable texts in English or other human languages from some underlying non-linguistic representation of information". While it is widely agreed that the output of any NLG process is text, there is some disagreement about whether the inputs of an NLG system need to be non-linguistic. Common applications of NLG methods include the production of various reports, for example weather and patient reports; image captions; and chatbots. Automated NLG can be compared to the process humans use when they turn ideas into writing or speech. Psycholinguists prefer the term language production for this process, which can also be described in mathematical terms, or modeled in a computer for psychological research. NLG systems can also be compared to translators of artificial computer languages, such as decompilers or transpilers, which also produce human-readable code generated from an intermediate representation. Human languages tend to be considerably more complex and allow for much more ambiguity and variety of expression than programming languages, which makes NLG more challenging. NLG may be viewed as complementary to natural-language understanding (NLU): whereas in natural-language understanding, the system needs to disambiguate the input sentence to produce the machine representation language, in NLG the system needs to make decisions about how to put a representation into words. The practical considerations in building NLU vs. NLG systems are not symmetrical. NLU needs to deal with ambiguous or erroneous user input, whereas the ideas the system wants to express through NLG are generally known precisely. NLG needs to choose a specific, self-consistent textual representation from many potential representations, whereas NLU generally tries to produce a single, normalized representation of the idea expressed. NLG has existed since ELIZA was developed in the mid 1960s, but the methods were first used commercially in the 1990s. NLG techniques range from simple template-based systems like a mail merge that generates form letters, to systems that have a complex understanding of human grammar. NLG can also be accomplished by training a statistical model using machine learning, typically on a large corpus of human-written texts. The Pollen Forecast for Scotland system is a simple example of a simple NLG system that could essentially be a template. This system takes as input six numbers, which give predicted pollen levels in different parts of Scotland. From these numbers, the system generates a short textual summary of pollen levels as its output. For example, using the historical data for July 1, 2005, the software produces: Grass pollen levels for Friday have increased from the moderate to high levels of yesterday with values of around 6 to 7 across most parts of the country. However, in Northern areas, pollen levels will be moderate with values of 4. In contrast, the actual forecast (written by a human meteorologist) from this data was: Pollen counts are expected to remain high at level 6 over most of Scotland, and even level 7 in the south east. The only relief is in the Northern Isles and far northeast of mainland Scotland with medium levels of pollen count. Comparing these two illustrates some of the choices that NLG systems must make; these are further discussed below. The process to generate text can be as simple as keeping a list of canned text that is copied and pasted, possibly linked with some glue text. The results may be satisfactory in simple domains such as horoscope machines or generators of personalised business letters. However, a sophisticated NLG system needs to include stages of planning and merging of information to enable the generation of text that looks natural and does not become repetitive. The typical stages of natural-language generation, as proposed by Dale and Reiter, are: Content determination: Deciding what information to mention in the text. For instance, in the pollen example above, deciding whether to explicitly mention that pollen level is 7 in the south east. Document structuring: Overall organisation of the information to convey. For example, deciding to describe the areas with high pollen levels first, instead of the areas with low pollen levels. Aggregation: Merging of similar sentences to improve readability and naturalness. For instance, merging the two following sentences: - Grass pollen levels for Friday have increased from the moderate to high levels of yesterday and - Grass pollen levels will be around 6 to 7 across most parts of the country into the following single sentence: - Grass pollen levels for Friday have increased from the moderate to high levels of yesterday with values of around 6 to 7 across most parts of the country. Lexical choice: Putting words to the concepts. For example, deciding whether medium or moderate should be used when describing a pollen level of 4. Referring expression generation: Creating referring expressions that identify objects and regions. For example, deciding to use in the Northern Isles and far northeast of mainland Scotland to refer to a certain region in Scotland. This task also includes making decisions about pronouns and other types of anaphora. An alternative approach to NLG is to use "end-to-end" machine learning to build a system, without having separate stages as above. In other words, we build an NLG system by training a machine learning algorithm (often an LSTM) on a large data set of input data and corresponding (human-written) output texts. The end-to-end approach has perhaps been most successful in image captioning, that is automatically generating a textual caption for an image. Automatic report generation From a commercial perspective, the most successful NLG applications have been data-to-text systems which generate textual summaries of databases and data sets; these systems usually perform data analysis as well as text generation. Research has shown that textual summaries can be more effective than graphs and other visuals for decision support, and that computer-generated texts can be superior (from the reader's perspective) to human-written texts. The first commercial data-to-text systems produced weather forecasts from weather data. The earliest such system to be deployed was FoG, which was used by Environment Canada to generate weather forecasts in French and English in the early 1990s. The success of FoG triggered other work, both research and commercial. Recent applications include the UK Met Office's text-enhanced forecast. Data-to-text systems have since been applied in a range of settings. Following the minor earthquake near Beverly Hills, California on March 17, 2014, The Los Angeles Times reported details about the time, location and strength of the quake within 3 minutes of the event. This report was automatically generated by a 'robo-journalist', which converted the incoming data into text via a preset template. Currently there is considerable commercial interest in using NLG to summarise financial and business data. Indeed, Gartner has said that NLG will become a standard feature of 90% of modern BI and analytics platforms. NLG is also being used commercially in automated journalism, chatbots, generating product descriptions for e-commerce sites, summarising medical records, and enhancing accessibility (for example by describing graphs and data sets to blind people). An example of an interactive use of NLG is the WYSIWYM framework. It stands for What you see is what you meant and allows users to see and manipulate the continuously rendered view (NLG output) of an underlying formal language document (NLG input), thereby editing the formal language without learning it. Looking ahead, the current progress in data-to-text generation paves the way for tailoring texts to specific audiences. For example, data from babies in neonatal care can be converted into text differently in a clinical setting, with different levels of technical detail and explanatory language, depending on intended recipient of the text (doctor, nurse, patient). The same idea can be applied in a sports setting, with different reports generated for fans of specific teams. Over the past few years, there has been an increased interest in automatically generating captions for images, as part of a broader endeavor to investigate the interface between vision and language. A case of data-to-text generation, the algorithm of image captioning (or automatic image description) involves taking an image, analyzing its visual content, and generating a textual description (typically a sentence) that verbalizes the most prominent aspects of the image. An image captioning system involves two sub-tasks. In Image Analysis, features and attributes of an image are detected and labelled, before mapping these outputs to linguistic structures. Recent research utilizes deep learning approaches through features from a pre-trained convolutional neural network such as AlexNet, VGG or Caffe, where caption generators use an activation layer from the pre-trained network as their input features. Text Generation, the second task, is performed using a wide range of techniques. For example, in the Midge system, input images are represented as triples consisting of object/stuff detections, action/pose detections and spatial relations. These are subsequently mapped to <noun, verb, preposition> triples and realized using a tree substitution grammar. Despite advancements, challenges and opportunities remain in image capturing research. Notwithstanding the recent introduction of Flickr30K, MS COCO and other large datasets have enabled the training of more complex models such as neural networks, it has been argued that research in image captioning could benefit from larger and diversified datasets. Designing automatic measures that can mimic human judgments in evaluating the suitability of image descriptions is another need in the area. Other open challenges include visual question-answering (VQA), as well as the construction and evaluation multilingual repositories for image description. Another area where NLG has been widely applied is automated dialogue systems, frequently in the form of chatbots. A chatbot or chatterbot is a software application used to conduct an on-line chat conversation via text or text-to-speech, in lieu of providing direct contact with a live human agent. While natural language processing (NLP) techniques are applied in deciphering human input, NLG informs the output part of the chatbot algorithms in facilitating real-time dialogues. Early chatbot systems, including Cleverbot created by Rollo Carpenter in 1988 and published in 1997, reply to questions by identifying how a human has responded to the same question in a conversation database using information retrieval (IR) techniques. Modern chatbot systems predominantly rely on machine learning (ML) models, such as sequence-to-sequence learning and reinforcement learning to generate natural language output. Hybrid models have also been explored. For example, the Alibaba shopping assistant first uses an IR approach to retrieve the best candidates from the knowledge base, then uses the ML-driven seq2seq model re-rank the candidate responses and generate the answer. Creative writing and computational humor Creative language generation by NLG has been hypothesized since the field's origins. A recent pioneer in the area is Phillip Parker, who has developed an arsenal of algorithms capable of automatically generating textbooks, crossword puzzles, poems and books on topics ranging from bookbinding to cataracts. The advent of large pretrained transformer-based language models such as GPT-3 has also enabled breakthroughs, with such models demonstrating recognizable ability for creating-writing tasks. A related area of NLG application is computational humor production. JAPE (Joke Analysis and Production Engine) is one of the earliest large, automated humor production systems that uses a hand-coded template-based approach to create punning riddles for children. HAHAcronym creates humorous reinterpretations of any given acronym, as well as proposing new fitting acronyms given some keywords. Despite progresses, many challenges remain in producing automated creative and humorous content that rival human output. In an experiment for generating satirical headlines, outputs of their best BERT-based model were perceived as funny 9.4% of the time (while real Onion headlines were 38.4%) and a GPT-2 model fine-tuned on satirical headlines achieved 6.9%. It has been pointed out that two main issues with humor-generation systems are the lack of annotated data sets and the lack of formal evaluation methods, which could be applicable to other creative content generation. Some have argued relative to other applications, there has been a lack of attention to creative aspects of language production within NLG. NLG researchers stand to benefit from insights into what constitutes creative language production, as well as structural features of narrative that have the potential to improve NLG output even in data-to-text systems. As in other scientific fields, NLG researchers need to test how well their systems, modules, and algorithms work. This is called evaluation. There are three basic techniques for evaluating NLG systems: - Task-based (extrinsic) evaluation: give the generated text to a person, and assess how well it helps them perform a task (or otherwise achieves its communicative goal). For example, a system which generates summaries of medical data can be evaluated by giving these summaries to doctors, and assessing whether the summaries help doctors make better decisions. - Human ratings: give the generated text to a person, and ask them to rate the quality and usefulness of the text. - Metrics: compare generated texts to texts written by people from the same input data, using an automatic metric such as BLEU, METEOR, ROUGE and LEPOR. An ultimate goal is how useful NLG systems are at helping people, which is the first of the above techniques. However, task-based evaluations are time-consuming and expensive, and can be difficult to carry out (especially if they require subjects with specialised expertise, such as doctors). Hence (as in other areas of NLP) task-based evaluations are the exception, not the norm. Recently researchers are assessing how well human-ratings and metrics correlate with (predict) task-based evaluations. Work is being conducted in the context of Generation Challenges shared-task events. Initial results suggest that human ratings are much better than metrics in this regard. In other words, human ratings usually do predict task-effectiveness at least to some degree (although there are exceptions), while ratings produced by metrics often do not predict task-effectiveness well. These results are preliminary. In any case, human ratings are the most popular evaluation technique in NLG; this is contrast to machine translation, where metrics are widely used. An AI can be graded on faithfulness to its training data or, alternatively, on factuality. A response that reflects the training data but not reality is faithful but not factual. A confident but unfaithful response is a hallucination. In Natural Language Processing, a hallucination is often defined as "generated content that is nonsensical or unfaithful to the provided source content". - Automated journalism - Automated paraphrasing - Markov text generators - Meaning-text theory - Generative art § Literature - Reiter, Ehud; Dale, Robert (March 1997). "Building applied natural language generation systems". Natural Language Engineering. 3 (1): 57–87. doi:10.1017/S1351324997001502. ISSN 1469-8110. S2CID 8460470. - Gatt A, Krahmer E (2018). "Survey of the state of the art in natural language generation: Core tasks, applications and evaluation". Journal of Artificial Intelligence Research. 61 (61): 65–170. arXiv:1703.09902. doi:10.1613/jair.5477. S2CID 16946362. - Goldberg E, Driedger N, Kittredge R (1994). "Using Natural-Language Processing to Produce Weather Forecasts". IEEE Expert. 9 (2): 45–53. doi:10.1109/64.294135. S2CID 9709337. - Portet F, Reiter E, Gatt A, Hunter J, Sripada S, Freer Y, Sykes C (2009). "Automatic Generation of Textual Summaries from Neonatal Intensive Care Data" (PDF). Artificial Intelligence. 173 (7–8): 789–816. doi:10.1016/j.artint.2008.12.002. - Farhadi A, Hejrati M, Sadeghi MA, Young P, Rashtchian C, Hockenmaier J, Forsyth D (2010-09-05). Every picture tells a story: Generating sentences from images (PDF). European conference on computer vision. Berlin, Heidelberg: Springer. pp. 15–29. doi:10.1007/978-3-642-15561-1_2. - Dale, Robert; Reiter, Ehud (2000). Building natural language generation systems. Cambridge, U.K.: Cambridge University Press. ISBN 978-0-521-02451-8. - Ehud Reiter (2021-03-21). History of NLG. Archived from the original on 2021-12-12. - Perera R, Nand P (2017). "Recent Advances in Natural Language Generation: A Survey and Classification of the Empirical Literature". Computing and Informatics. 36 (1): 1–32. doi:10.4149/cai_2017_1_1. hdl:10292/10691. - R Turner, S Sripada, E Reiter, I Davy (2006). Generating Spatio-Temporal Descriptions in Pollen Forecasts. Proceedings of EACL06 - "E2E NLG Challenge". - "DataLabCup: Image Caption". - Law A, Freer Y, Hunter J, Logie R, McIntosh N, Quinn J (2005). "A Comparison of Graphical and Textual Presentations of Time Series Data to Support Medical Decision Making in the Neonatal Intensive Care Unit". Journal of Clinical Monitoring and Computing. 19 (3): 183–94. doi:10.1007/s10877-005-0879-3. PMID 16244840. S2CID 5569544. - Gkatzia D, Lemon O, Reiser V (2017). "Data-to-Text Generation Improves Decision-Making Under Uncertainty" (PDF). IEEE Computational Intelligence Magazine. 12 (3): 10–17. doi:10.1109/MCI.2017.2708998. S2CID 9544295. - "Text or Graphics?". 2016-12-26. - Reiter E, Sripada S, Hunter J, Yu J, Davy I (2005). "Choosing Words in Computer-Generated Weather Forecasts". Artificial Intelligence. 167 (1–2): 137–69. doi:10.1016/j.artint.2005.06.006. - S Sripada, N Burnett, R Turner, J Mastin, D Evans(2014). Generating A Case Study: NLG meeting Weather Industry Demand for Quality and Quantity of Textual Weather Forecasts. Proceedings of INLG 2014 - Schwencke, Ken Schwencke Ken; Journalist, A.; Programmer, Computer; in 2014, left the Los Angeles Times (2014-03-17). "Earthquake aftershock: 2.7 quake strikes near Westwood". Los Angeles Times. Retrieved 2022-06-03. - Levenson, Eric (2014-03-17). "L.A. Times Journalist Explains How a Bot Wrote His Earthquake Story for Him". The Atlantic. Retrieved 2022-06-03. - "Neural Networks and Modern BI Platforms Will Evolve Data and Analytics". - Harris MD (2008). "Building a Large-Scale Commercial NLG System for an EMR" (PDF). Proceedings of the Fifth International Natural Language Generation Conference. pp. 157–60. - "Welcome to the iGraph-Lite page". www.inf.udec.cl. Archived from the original on 2010-03-16. - Gatt, Albert; Krahmer, Emiel (2018-01-29). "Survey of the State of the Art in Natural Language Generation: Core tasks, applications and evaluation". arXiv:1703.09902 [cs.CL]. - Kodali, Venkat; Berleant, Daniel (2022). "Recent, Rapid Advancement in Visual Question Answering Architecture: a Review". Proceedings of the 22nd IEEE International Conference on EIT. pp. 133–146. arXiv:2203.01322. - Mnasri, Maali (2019-03-21). "Recent advances in conversational NLP: Towards the standardization of Chatbot building". arXiv:1903.09025 [cs.CL]. - "How To Author Over 1 Million Books". HuffPost. 2013-02-11. Retrieved 2022-06-03. - "Exploring GPT-3: A New Breakthrough in Language Generation". KDnuggets. Retrieved 2022-06-03. - Winters, Thomas (2021-04-30). "Computers Learning Humor Is No Joke". Harvard Data Science Review. 3 (2). doi:10.1162/99608f92.f13a2337. S2CID 235589737. - Horvitz, Zachary; Do, Nam; Littman, Michael L. (July 2020). "Context-Driven Satirical News Generation". Proceedings of the Second Workshop on Figurative Language Processing. Online: Association for Computational Linguistics: 40–50. doi:10.18653/v1/2020.figlang-1.5. S2CID 220330989. - Generation Challenges 2009 - Ji, Ziwei; Lee, Nayeon; Frieske, Rita; Yu, Tiezheng; Su, Dan; Xu, Yan; Ishii, Etsuko; Bang, Yejin; Madotto, Andrea; Fung, Pascale (17 November 2022). "Survey of Hallucination in Natural Language Generation". ACM Computing Surveys. 55 (12): 3571730. doi:10.1145/3571730. S2CID 246652372. - Dale, Robert; Reiter, Ehud (2000). Building natural language generation systems. Cambridge, UK: Cambridge University Press. ISBN 978-0-521-02451-8. - Evans, Roger; Piwek, Paul; Cahill, Lynne (2002). What is NLG?. INLG2002. New York, US. paper - Gatt, Albert; Krahmer, Emiel (2018). "Survey of the State of the Art in Natural Language Generation: Core tasks, applications and evaluation". Journal of Artificial Intelligence Research. 61: 65–170. arXiv:1703.09902. doi:10.1613/jair.5477. S2CID 16946362. - Reiter, Ehud (2018-01-16). "How do I Learn about NLG?". - ACL Special Interest Group on Generation (SIGGEN) - SIGGEN part of ACL Anthology (contains NLG research papers) - ACL NLG Portal (contains list of NLG resources) - Bateman and Zock's 'almost complete' list of NLG systems now maintained as a Wiki with a variety of visualisations and overview tables available on demand - Ehud Reiter's blog on Natural Language Generation - Interactive Multimedia Explanation for Equipment Maintenance and Repair - article describing Coordinated Multimedia Explanation Testbed (COMET)

<urn:uuid:8a0e60d8-bcd3-4b8d-b89e-e8fae4e137b4>

CC-MAIN-2023-40

https://en.wikipedia.org/wiki/Natural-language_generation

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510676.40/warc/CC-MAIN-20230930113949-20230930143949-00595.warc.gz

en

Romanesque styles originated in Normandy and became widespread in northwestern Europe, particularly in England. Norman architecture is a style of Romanesque architecture developed by the Normans in the lands under their dominion during the 11th and 12th centuries. The Normans were descended from Norse raiders and pirates from Denmark, Iceland, and Norway, who in the 10th and 11th centuries gave their name to Normandy, a region in France. The Norman dynasty had a major political, cultural, and military impact on medieval Europe. In particular, the term “Norman architecture” is traditionally used to refer to English Romanesque architecture. The Normans introduced large numbers of castles and fortifications, including keeps, monasteries, abbeys, churches, and cathedrals. These structures were constructed in a style characterized by Romanesque rounded arches (particularly over windows and doorways) and massive proportions compared to other regional variations of the style. The Normans descended from Norse raiders from Denmark, Iceland, and Norway. The distinct cultural and ethnic identity of the Normans emerged in the first half of the 10th century and continued to evolve over the succeeding centuries. Norman invaders arrived at the mouth of the river Seine in 911. Over the next century, Norman Barons built timber castles on earthen mounds, beginning the development of motte-and-bailey castles; they also produced great stone churches in the Romanesque style of the Franks. By 950 they were building stone keeps. The Normans were among the most travelled peoples of Europe and thus exposed to a wide variety of cultural influences, including those from the Near East, some of which were incorporated into their art and architecture. They elaborated on the Early Christian basilica plan, making it longitudinal with side aisles, an apse, and a western facade with two towers. This elaboration can be seen in the Abbey of Saint-Étienne at Caen, begun in 1063, which formed a model for the larger English cathedrals whose construction began twenty years later. The Church of Saint-Pierre is another prime example of Norman architecture. This Roman Catholic church dedicated to Saint Peter is situated on the Place Saint Pierre in the center of Caen in Normandy. The construction of the present building took place between the early 13th and 16th centuries. The spire was destroyed in 1944 and has since been rebuilt. The eastern apse of the church was built by Hector Sohier between 1518 and 1545. The interior choir and the exterior apse display an architecture that embodies the transition from Gothic to Renaissance. Balustrades of Gothic letters, which read as part of the Magnificat, run along the top. Its west portal, the decoration of the tower spire, and the stained glass are among the features which make it one of the finest churches of the Rouen diocese. Norman Architecture in England In England, Norman nobles and bishops had influence even before the Norman Conquest of 1066, and Norman influences affected late Anglo-Saxon architecture. Edward the Confessor was raised in Normandy, and in 1042 he brought masons to work on Westminster Abbey, the first Romanesque building in England. In 1051 he brought in Norman knights who built motte (raised earthwork) castles as a defence against the Welsh. Following the Norman invasion of England, Normans rapidly constructed more motte-and-bailey castles, and in a burst of building activity constructed churches, abbeys, and more elaborate fortifications such as Norman stone keeps. The buildings show massive proportions in simple geometries. The masonry is decorated only with small bands of sculpture, perhaps used as blind arcading. The restrained decoration is seen in concentrated spaces of capitals and round doorways and in the tympanum under an arch. The Norman arch is round, in contrast to the pointed Gothic arch. Norman mouldings are carved or incised with geometric ornaments, such as chevron patterns (frequently termed “zig-zag mouldings”) around arches. The cruciform churches often have deep chancels and a square crossing tower, which has remained a feature of English ecclesiastical architecture. Hundreds of parish churches were built, and the great English cathedrals were founded during a period from about 1083. After a fire damaged Canterbury Cathedral in 1174, Norman masons introduced the new Gothic architecture. Around 1191, Wells Cathedral and Lincoln Cathedral brought in the English Gothic style, and Norman architecture became an increasingly modest style seen only in provincial buildings. Norman Art Forms Norman painting, like other Romanesque painting of its time, is best demonstrated by illuminated manuscripts, wall paintings, and stained glass. In the visual arts, the Normans did not have the rich and distinctive traditions of the cultures they conquered. However, in the early 11th century, the dukes began a program of church reform, encouraging the Cluniac reform of monasteries and patronizing intellectual pursuits, especially the proliferation of scriptoria and the compilation of lost . The chief monasteries taking part in this “renaissance” of Norman art and scholarship were Mont-Saint-Michel, Fécamp, Jumièges, Bec, Saint-Ouen, Saint-Evroul, and Saint-Wandrille. These centers were in contact with the Winchester school, which channelled a pure Carolingian artistic tradition to Normandy. From roughly 1090-1110, Normandy experienced a brief golden age of illustrated manuscripts; however, the major scriptoria of Normandy ceased to function after the midpoint of the 12th century. An illuminated manuscript is a manuscript in which the text is supplemented by the addition of decoration, such as decorated initials, borders (marginalia), and miniature illustrations. Romanesque illuminations focused on the Bible and the Psalter. Each book of the Bible was prefaced by a large historiated initial; major initials were similarly illuminated in the Psalter. In both cases, more lavish examples had cycles of scenes in fully illuminated pages, sometimes with several scenes per page in compartments. The Bibles, in particular, often had very large pages and were sometimes bound into more than one volume. The large wall surfaces and plain, curving vaults of the Romanesque period lent themselves well to mural decoration in Normandy and other Norman lands. Unfortunately, many of these early wall paintings have been destroyed by dampness over the years, or the walls themselves have been re-plastered and painted over. In Normandy, such pictures were systematically destroyed or whitewashed in bouts of during the Reformation. A classic scheme for the painted decoration of a church had, as its focal point in the semi-dome of the apse, Christ in Majesty or Christ the Redeemer enthroned within a and framed by the four-winged beasts (symbols of the Four Evangelists). If the Virgin Mary was the dedicatee of the church, she might replace Christ here. On the apse walls below were saints and apostles, often including narrative scenes. On the sanctuary arch were figures of apostles, prophets, or the 24 “elders of the Apocalypse”, looking in towards a bust of Christ or his symbol, the Lamb, at the top of the arch. The north wall of the nave contained narrative scenes from the Old Testament, while the south wall contained scenes from the New Testament. On the rear west wall was the Last Judgment with an enthroned and judging Christ at the top. One of the most intact schemes in existence is at Saint-Savin-Sur-Gartempe in France. The long barrel vault of the nave provides an excellent surface for and is decorated with scenes of the Old Testament. One of these shows a lively depiction of Noah’s Ark, complete with a fearsome figurehead and numerous windows through which Noah and his family can be seen on the upper deck, birds on the middle deck, and pairs of animals on the lower deck. Another scene shows the swamping of Pharaoh’s army by the Red Sea. The scene extends to other parts of the church, with the martyrdom of the local saints shown in the crypt, the Apocalypse in the , and Christ in Majesty. The range of colours is limited to light blue-green, yellow ochre, reddish-brown, and black. Norman Stained Glass Stained glass was a significant art form from the Norman empire throughout both France and Norman-controlled England. At Le Mans, Saint-Denis, and Chartres Cathedrals in France as well as Canterbury Cathedral in England, a number of panels of the 12th century have survived. Most of the magnificent stained glass of France, however, including the famous windows of Chartres, dates from the 13th century. Far fewer large windows remain intact from the 12th century. Glass craftsmen were slower than architects to change their style, and much Norman stained glass from the first part of the 13th century can be considered Romanesque. Especially fine are large figures from around the year 1200 from Strasbourg Cathedral and Saint Kunibert’s Church, both in France. Glass was both expensive and fairly flexible (in that it could be added to or rearranged) and was often reused when churches were rebuilt in the Gothic style. Chartres Cathedral, also known as the Cathedral of Our Lady of Chartres, is a medieval Catholic cathedral of the Latin Church located in Chartres, France. The current cathedral was mostly constructed between 1194 and 1250. The cathedral is in an exceptional state of preservation, and the majority of the original stained glass windows survive intact. Perhaps the most distinctive feature of Chartres Cathedral is the extent to which its architectural structure has been adapted to meet the needs of stained glass. The use of three-part elevation with external buttressing allowed for far larger windows than did earlier designs, particularly at the clerestory level. Most cathedrals of the period had a mixture of windows containing plain or grisaille glass and windows containing dense stained glass panels; the brightness of the former tended to diminish the impact and legibility of the latter. At Chartres, nearly all 176 windows were filled with equally dense stained glass, creating a relatively dark but richly coloured interior in which the light filtering through the myriad narrative and symbolic windows was the main source of illumination. The majority of the windows now visible at Chartres were made and installed between 1205 and 1240; however, four lancets preserve panels of Romanesque glass from the 12th century that survived the fire of 1195. Perhaps the most famous 12th-century window at Chartres is the so-called Notre-Dame de la Belle-Verrière, found in the first bay of the choir after the south transept. This window is actually a composite; the upper part, showing the Virgin and child surrounded by adoring angels, dates from around 1180 and was probably positioned at the center of the apse in the earlier building. The Virgin is depicted wearing a blue robe and sitting in a frontal pose on a throne, with the Christ Child seated on her lap raising his hand in blessing. This composition, known as the Sedes sapientia (“Throne of Wisdom”), is based on the famous cult figure kept in the crypt. The lower part of the window showing scenes from the Infancy of Christ dates from the main glazing campaign around 1225. Each bay of the aisles and the choir ambulatory contains a large lancet window roughly 8.1 meters high by 2.2 meters wide. The windows were made between 1205 and 1235 and depict stories from the Old and New Testament and the Lives of the Saints as well as typological cycles and symbolic images such as the signs of the zodiac and labours of the months. Most windows are made up of 25–30 individual panels showing distinct episodes within the narrative; only Notre-Dame de la Belle-Verrière includes a larger image made up of multiple panels. Because of their greater distance from the viewer, the windows in the clerestory generally adopt simpler, bolder designs. Most feature the standing figure of a saint or Apostle in the upper two-thirds, often with one or two simplified narrative scenes in the lower part. Unlike the lower windows in the nave arcades and the ambulatory that consist of one simple lancet per bay, the clerestory windows are each made up of a pair of lancets with a plate-traceried rose window above. The nave and transept clerestory windows mainly depict saints and Old Testament prophets. Those in the choir depict the kings of France and Castille and members of the local nobility in the straight bays, while the windows in the apse hemicycle show those Old Testament prophets who foresaw the virgin birth, flanking scenes of the Annunciation, Visitation, and Nativity in the axial window. The cathedral also has three large rose windows: the western rose, the north transept rose, and the south transept rose. Le Mans Cathedral Le Mans Cathedral is a Catholic cathedral situated in Le Mans, France. Its construction dates from the 6th through the 14th century, and though the cathedral itself features many French Gothic elements, it has a notable collection of Romanesque stained glass. The nave at Le Mans retains around 20 stained glass windows from Bishop Guillaume’s mid-12th century rebuilding, though all but one have been moved from their original locations. All were extensively restored in the 19th century. The great western window, depicting scenes from the Life of St Julian of Le Mans, dates from around 1155. The Ascension window toward the western end of the south aisle of the nave has been dated to 1120, making it one of the oldest extant stained glass windows in France. Unlike the earlier Romanesque windows, the 13th-century glazing program in the upper parts of the choir is largely intact. It presents a diverse range of scenes from the Old and New Testaments, the Lives of Saints, and various miracles of the Virgin. These windows are notable for their variety of artistic styles and their lack of coherent program (there is no obvious pattern in the distribution of subjects, and some episodes, such as the story of Theophilus or the miracle of the Jewish boy of Bourges, are repeated in different windows). The windows in the radiating chapels have fared less well over time, and most of the surviving panels have been reassembled out of context in the axial chapel. The Bayeux Tapestry The Bayeux tapestry is the best-known example of Romanesque architecture. This embroidered cloth is nearly 70 meters (230 feet) long and 50 centimetres (20 inches) tall and depicts the events leading up to the Norman conquest of England. Images in the cloth include depictions of William, Duke of Normandy; the coronation and death of the English King Harold; the Battle of Hastings; and even Halley’s Comet. The tapestry consists of some 50 scenes with Latin tituli, or inscriptions, embroidered on linen with coloured woollen yarns. It was likely commissioned by Bishop Odo, the half-brother to Duke William of Normandy, and made in England—not Bayeux—in the 1070s. The hanging was rediscovered in 1729 by scholars at a time when it was being displayed annually in Bayeux Cathedral. The tapestry is now exhibited at the Musée de la Tapisserie de Bayeux in Bayeux, Normandy, France. The designs on the Bayeux Tapestry are embroidered rather than woven, so it’s not technically considered a tapestry. The tapestry can be seen as the final and best-known work of Anglo-Saxon art, and though it was made after the Norman Conquest of England, historians accept that it was created firmly in the Anglo-Saxon tradition. Such tapestries adorned both churches and wealthy houses in England, though the Bayeux tapestry is exceptionally large. The tapestry is embroidered in crewel (wool yarn) on a tabby-woven linen ground using two methods of stitching: outline or stem stitch for lettering and the outlines of figures and couching or laid work for figure interior. Nine linen panels between 14 and 3 meters in length were embroidered and sewn together, and the joins disguised with subsequent embroidery. The design involves a broad central zone with narrow decorative borders top and bottom. Later generations patched the hanging in numerous places, and some of the embroidery (especially in the final scene) has been reworked. The main yarn colours are terracotta or russet, blue-green, dull gold, olive green, and blue, with small amounts of dark blue, black, and sage green. Later repairs are worked in light yellow, orange, and light greens. The tapestry’s central zone contains most of the action, which sometimes overflows into the borders either for dramatic effect or to allow extra space for depictions. Events are each depicted in a long series of scenes separated by stylized trees. The trees are not placed consistently, however, and the greatest scene shift (between Harold’s audience with Edward after his return to England and Edward’s burial scene) is not marked. The tituli are normally located in the central zone but occasionally use the top border. The borders are otherwise decorated with birds, beasts, and fish, as well as scenes from fables, agriculture, and hunting. These don’t necessarily complement the action in the central panels. The picture of Halley’s Comet, which appears in the upper border (scene 32), is the first known depiction of this comet. The Opus Anglicanum Opus Anglicanum, Latin for “the English work” refers to the elaborate needlework produced in England during the Middle Ages. Embroidered pieces were used in religious and secular settings on vestments, clothing for the wealthy, and heraldic tapestries. England gained a reputation for needlework as early as the Anglo-Saxon period prior to the Norman conquest; however, it was in the 13th and 14th centuries that the Opus Anglicanum really flourished. This work combined silk and gold or silver-gilt threads worked on linen and later velvet. The motifs used in needlework followed the trends in other art forms of the time, such as illuminated manuscripts and architecture; some motifs included the use of scrolls, spirals, and foliage. Embroidered pieces also depicted figures of kings and saints as well as the Gothic arches popular in European architecture. London was the primary center of production for Opus Anglicanum. While often associated with certain convents, a professional group of male craftsmen produced a great deal of the work. The Worshipful Company of Broderers was a craft guild incorporated in 1561 to represent these workers. There is some evidence that the group first incorporated as early as 1515, but those records were lost. Opus Anglicanum consisted primarily of popular luxury items that spread across Europe. Pope Martin IV, for example, ordered custom pieces after admiring the vestments of English Priests. As the 14th century progressed, however, demand for luxury goods decreased as funds were redirected toward military expenditures. As a result, the style of the work was scaled back, and much of the richness and storytelling of these pieces were lost. The needlework was relegated to small applique pieces that could be added to clothing or tapestries. Few pieces have survived due to the delicate nature of the work. Some were repurposed as they aged and others were buried with their owners. One surviving piece is a cope, or a type of vestment, owned by the Butler-Bowdon family. Thought to have been made in 1330-1350, the Butler-Bowdon Cope is an example of a piece that was cut up for reuse, as it was reconstructed in the 19th century.

<urn:uuid:afc563a3-dab4-4469-ae38-7b52335a0e54>

CC-MAIN-2023-40

https://pressbooks.bccampus.ca/cavestocathedrals/chapter/the-romanesque-in-normandy-and-england/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510319.87/warc/CC-MAIN-20230927171156-20230927201156-00595.warc.gz

en

Who is on 10 dollar bill? The United States 10-dollar bill is a widely recognized and frequently used piece of currency in circulation today. The face of the bill features the portrait of one of the most iconic figures in American history, a founding father and one of the country’s early presidents. This individual’s image on the 10-dollar bill serves as a reminder of their significant contributions to the nation and their lasting impact on American society. In this article, we will explore the history of the 10-dollar bill and discover who exactly is featured on its face. Table of Contents When did this picture appear on the 10-dollar bill? In 1914, theFederal Reserveissued its first 10-dollar bill bearing the portrait of President Andrew Jackson. However, in 1929, the face on the bill was changed to that ofAlexander Hamilton, one of America’s founding fathers and the first Secretary of the Treasury. As a result, Jackson’s portrait was relocated to the 20-dollar bill, where it remains to this day. The printing of the 10-dollar bill, along with other larger denominations, was made possible by theFederal Reserve Actof 1913, which established the Federal Reserve as the central bank of the United States. The act also authorized the circulation ofFederal Reserve Bank Notesas a form of currency in the early 20th century. Over time, the board of governors of the Federal Reserve began issuing a new type ofpaper currencyknown asFederal Reserve Notes, which are still in circulation today. These notes are widely used in theUnited Statesand are considered legal tender for all debts, public and private. Who is he? Alexander Hamilton was an American statesman,Founding Father, and one of the most influential interpreters and promoters of the United States Constitution. He was born in theBritish West Indiesand later became a statesman in the newly formedUnited States. Hamilton served as the first Secretary of the Treasury under President George Washington and was a key figure in the Federalist Party, which advocated for a strong central government. He also played a significant role in the ratification of the Constitution and was a co-author of the Federalist Papers, a series of essays that helped to promote the ratification of the Constitution. Where Was Alexander Hamilton Born? Alexander Hamilton, one of the founding fathers of theUnited States, was born on the Caribbean island of Nevis in either 1755 or 1757. His parents, James Hamilton and Rachel Faucette Lavien, were not married at the time of his birth. Rachel was still legally married to another man, but had separated from him due to his mismanagement of her family’s finances, which led to her being imprisoned for adultery. In 1766, when Hamilton was just 11 years old, his father abandoned the family, and his mother passed away two years later. Despite these early struggles, Hamilton showed great promise and was hired as a clerk in a trading company on the island of St. Croix. It was there that he gained wider attention after publishing a moving letter describing the devastation caused by a hurricane that struck the island in 1772. The local community was so impressed by his writing that they raised funds to send him to America to pursue his education. Alexander Hamilton’s Children Alexander Hamilton, one of the founding fathers of theUnited States, had a total of eight children with his wife, Elizabeth Schuyler Hamilton. The couple married in 1780 and went on to have three sons and five daughters. First child, Philip Their first child, Philip, was born in 1782 and was named after Hamilton’s close friend and fellow revolutionary,Philip Schuyler. Tragically,Philipdied in a duel in 1801, at the age of 19, while defending his father’s honor. Second child, Angelica Their second child, Angelica, was born in 1784. She was named afterElizabeth’s sister,AngelicaSchuyler Church. After her marriage toJohn Barker Church, Angelica moved to Europe, where she lived for the rest of her life. Third child, Alexander Jr Their third child, Alexander Jr., was born in 1786. He went on to become a lawyer and served as a member of the United States House of Representatives from New York. Fourth child, James Alexander Their fourth child,James Alexander, was born in 1788. He also became a lawyer and had a successful career as a businessman. Fifth child, John Church Their fifth child,John Church, was born in 1792. He entered the United States Military Academy at West Point but left before graduating to pursue a career in law. Sixth child, William Stephen Their sixth child,William Stephen, was born in 1797. He served as an officer in theUnited States Navyand later became a lawyer. Seventh child, Eliza Their seventh child, Eliza, was born in 1799 and was named after her mother. She never married and lived with her mother until her death in 1854. Eighth and youngest child, Philip Hamilton Their eighth and youngest child,Philip Hamilton, was born in 1802 and was named after his deceased older brother. He also went on to become a lawyer, but tragically died in a duel in 1831, just like his older brother Philip. Alexander Hamiltonwas a devoted father and deeply loved his children. He worked tirelessly to provide for them and secure their futures, especially after his untimely death in a duel with Vice President Aaron Burr in 1804. Despite the challenges and tragedies they faced, theHamilton childrenwent on to lead successful lives and make their own contributions to American society. His Role in the Revolutionary War Hamilton departed from his position onGeorge Washington’s staff in 1781. However, he later returned to the military, when Washington assigned him a field command for the Battle of Yorktown towards the end of the same year. At this battle, Hamilton distinguished himself with his brilliant performance, leading a successful assault that contributed to the surrender of British General Lord Charles Cornwallis. Washington appointed Hamilton in 1781 to command alight infantry battalionin Marquis de Lafayette’s Division. Hamilton played a key role at theBattle of Yorktown, which was the last majorland battleof the American Revolutionary War. The siege took place from September 28 to October 19, 1781, during which the French attacked the British fort at Redoubt 9, while Hamilton simultaneously attacked Redoubt 10. The combined attack forcedGeneral Cornwallisto surrender. “During Hamilton’s time, exhibiting bravery on the battlefield was one of the few ways for an unknown person to gain fame,” explains Michael E. Newton, author of Alexander Hamilton: The Formative Years. “Despite having a genius and being hard-working, Hamilton did not hail from a prominent family like most of the Founding Fathers. He knew that achieving glory in battle would make him famous and help him advance his career.” Brendan McConville, a professor of history atBoston University, adds that Hamilton was always sensitive about his humble origins, so it was important to him to prove himself during the war. “Although he wasa key aide to Washington for most of the war, Hamilton sought glory on the battlefield,” McConville says. “He saw victory on the battlefield as a way to earn a good reputation.” Initially, according to Newton, someone else was given command of the assault on Redoubt 10. However, Hamilton objected, claiming that it was his turn and that he had seniority. “When Washington overturned the previous decision and gave Hamilton the command, Hamilton rushed to his friend and second-in-command,Nicholas Fish, and exclaimed ‘We have it! We have it!’ ” The Patriotstrategy for the attack was to approach the redoubts “in silence with guns unloaded, encircle the enemy and force them to surrender quickly with few casualties,” according to Newton. “It was a surprise night assault on a moonless night—they did not want to give themselves away with flashes and the sound of guns,” McConville adds. “Bayonets were to be used to avoid giving away specific locations and silence was ordered.” The plan worked: Hamilton’s troops took control of the redoubt within 10 minutes and with few American deaths. And the victory earned Hamilton the reputation he sought. “Hamilton’s report of the assault on Redoubt 10 was published in newspapers around the country, but Hamilton made no mention of his own accomplishments that day despite heaping praise on those who served under him,” Newton says. “Lafayette’s report of the assault was also printed in these newspapersand heaped abundant praise upon Hamilton for his actions at Yorktown. As a result, the entire country heard about Hamilton’s bravery and leadership.” Secretary of the Treasury In 1789,George Washingtonwas elected as the firstPresident of the United Statesby unanimous vote. He then appointedAlexander Hamiltonas the first Secretary of the U.S. Treasury. Hamilton’s main goal was to establish financial stability for the new nation. To this end, he argued for the importance of anational banking systemand for the federal government to assume state debts. However, Hamilton’s financial policies faced strong opposition fromJames MadisonandThomas Jefferson, who served as theSecretary of Stateat the time. They believed that his policies granted far too much power to the federal government. The FirstBank of the United States was chartered in 1791, and it was modeled on the Bank of England. This bank succeeded in fueling economic growth, and it marked the pinnacle of Hamilton’s influence on the new nation. Meanwhile, the debate continued to rage within Washington’s cabinet over the balance of power between the federal government and the states. By 1793, when war broke out betweenGreat Britainand France, the divide between Hamilton (who advocated for neutrality) and Jefferson (who wanted theUnited Statesto support France) had begun to shape the nation’s first political parties: the Federalists and the Democratic-Republicans. ‘Hamilton’ the Musical ‘Hamilton’ is a musical that premiered on Broadway in 2015 and quickly became a cultural phenomenon. The musical was created by Lin-Manuel Miranda, who wrote the music, lyrics, and book, and based it on the life ofAlexander Hamilton, one of the founding fathers of theUnited States. The show features a diverse cast and blends hip-hop, R&B, and traditionalshow tunesto tell the story of Hamilton’s life, from his early days as an immigrant inNew York Cityto his service as George Washington’s right-hand man during theAmerican Revolutionand his role in shaping the nation’s early government. The musical has been praised for its innovative use of music and its ability to make history accessible and engaging for a new generation. It has won numerous awards, including 11Tony Awards, aGrammy Award, and aPulitzer Prize for Drama. ‘Hamilton’ has become acultural phenomenon, with sold-out performances around the world and a dedicated fan base. It has also sparked renewed interest in the life and legacy of Alexander Hamilton, inspiring numerous books, documentaries, and other works of art. Whether you are a fan of musical theater,American history, or just great storytelling, ‘Hamilton’ is a must-see production that has something for everyone. How Did He Die? In 1804, Aaron Burr, who had been largely sidelined in his role asvice presidentbyThomas Jefferson, decided to run for governor ofNew York. However, he was met with opposition from powerfulparty rivalsand ultimately lost the election. Frustrated by his defeat, Burr became fixated on anewspaper articlethat had been published during the campaign, which claimed thatAlexander Hamiltonhad insulted him at a private dinner. Burr wrote to Hamilton, confronting him about the alleged slight. However, when Hamilton refused to back down, Burr challenged him to a duel. On July 11, 1804, the two men met at adueling groundin Weehawken, New Jersey. During the duel, both men fired their pistols. Hamilton’s shot missed, and some historians believe that he may not have intended to hit Burr, but rather to “throw away his shot.” Unfortunately, Burr’s bullet struck Hamilton and mortally wounded him. Hamilton died the following day from his injuries. Alexander Hamilton was buried inTrinity Church Cemeteryin New York City, where his tomb remains a popular tourist attraction to this day. The tragic events surrounding his death have become a significant part ofAmerican history, and have been the subject of numerous books, films, and other works of art. Despite his untimely demise, Hamilton’s legacy as one of America’s most influential founding fathers lives on, through his contributions to the nation’s early government and his enduring impact on American society. In conclusion, the person featured on the 10-dollar bill isAlexander Hamilton, one of theFounding Fathers of the United States and the first Secretary of the Treasury. Hamilton’s contributions to the establishment of the nation’s economic system were significant, and his legacy is still remembered today through his image on the 10-dollar bill. I hope that my information is helpful to you! FAQs for Who Is On 10$ Dollar Bill Q: When was the 10-dollar bill first issued? A: The first 10-dollar bill was issued by the Federal Reserve in 1914. Q: WasAlexanderHamilton always featured on the 10-dollar bill? A: No, the face on the 10-dollar bill was originally that of President Andrew Jackson. However, in 1929, the design of the bill was changed, and Hamilton’s portrait was added to the front. Q: Why was Alexander Hamilton chosen to be featured on the 10-dollar bill? A: Hamilton was chosen for his significant contributions to the early American government and his role in establishing the nation’s financial system. Q:Can Istill use old 10-dollar bills that feature Andrew Jackson’s portrait? A: Yes, old 10-dollar bills that feature Jackson’s portrait are still considered legal tender and can be used for transactions. Q: Are there anysecurity featureson the 10-dollar bill? A: Yes, the 10-dollar bill has several security features, including watermarks, color-shifting ink, and security threads, that are designed to prevent counterfeiting. Q: How long is the lifespan of a 10-dollar bill? A: The lifespan of a 10-dollar bill varies depending on its usage and handling, but on average, it is around 4-5 years. However, bills that are in good condition and not heavily circulated can last much longer. When bills become too worn or damaged, they are taken out of circulation and replaced with new bills. Q: Is the 10-dollar bill the only denomination ofU.S. currency to feature AlexanderHamilton? A: No, Hamilton is also featured on the front of the $50 bill, along with Ulysses S. Grant. Q: Can I exchange damaged or mutilated 10-dollar bills for new ones? A: Yes, you can exchange damaged or mutilated bills at your local bank or through the U.S. Treasury’s Bureau of Engraving and Printing. However, the amount you can receive in exchange may depend on the extent of the damage or mutilation. Q: Are there any interesting facts about the design of the 10-dollar bill? A: Yes, the back of the 10-dollar bill features a depiction of the U.S. Treasury buildingand the words “Wealth of the Nation.”The Treasurybuilding depicted on the bill is actually based on the design of the building that stood on the site in the 1800s, rather than the current Treasury building in Washington, D.C. Additionally, the 10-dollar bill is one of the few denominations of U.S. currency to feature a woman on the back—specifically, the depiction ofLady Libertyholding a torch and an olive branchsymbolizing peace. Ten-dollar bill: Alexander Hamilton. Although he never served as president, Alexander Hamilton still played a major role in our nation's history. He served in the Revolutionary War as an aide to George Washington and is one of our Founding Fathers. new series of $10 currency bearing Alexander Hamilton's portrait. Regret- tably, what is most often remembered about Hamilton is his fateful duel with his political archenemy, Aaron Burr. But Hamilton's importance goes well beyond his compelling life story and its untimely end.What presidents on the $10 bill? › We have George Washington on the $1 bill, Thomas Jefferson on the $2 bill, Abraham Lincoln on the $5, Andrew Jackson on the $20, and Ulysses S. Grant on the $50. Alexander Hamilton and Ben Franklin were never presidents, but they are featured on the $10 and $100 bill, respectively.Who is on the 10 dollar bill because he was the first secretary of the Treasury? › Since the currency was redesigned and given a standard size in 1928, Hamilton has been on the $10. His portrait was engraved from the 1805 John Trumbull painting that hangs in New York's City Hall (you can see it behind the mayor's podium when he is on television).Who are the names on the $10 dollar note? › On the $10 banknote, these are the Bramble Wattle (Acacia victoriae) and the Sulphur-crested Cockatoo (Cacatua galerita). The new $10 banknote retains the portraits of Dame Mary Gilmore and AB 'Banjo' Paterson, which are drawn from the same source photographs represented on the first polymer $10 banknote.Who is on the $10 bill and the $20 bill? › WASHINGTON - Harriet Tubman, an African-American abolitionist who was born a slave, will stand with George Washington, Abraham Lincoln and Benjamin Franklin as among the iconic faces of U.S. currency.Who is on the vertical $10 bill? › Viola Desmond was a successful black businesswoman who was jailed, convicted and fined for defiantly refusing to leave a whites-only area of a movie theatre in 1946. Her court case was an inspiration for the pursuit of racial equality across Canada.Who's on the $2 bill? › The $2 note features a portrait of Thomas Jefferson on the front of the note and a vignette depicting the signing of the Declaration of Independence on the back of the note.Who is on the $5 and $10 bill? › $1: George Washington, first president. $2: Thomas Jefferson, third president, drafted the Declaration of Independence. $5: Abraham Lincoln, sixteenth president, saved the union. $10: Alexander Hamilton, not a president, died in a duel with Aaron Burr..Who's on the $1000 bill? › $1,000 Series 1918 Blue Seal This bill, printed in 1918, has Founding Father Alexander Hamilton's face on the front and a soaring eagle on the back. It's fitting that Hamilton found his way onto some U.S. currency, since, among his other accomplishments, he's credited with founding the country's financial system. Like its smaller cousin, the $500 bill, the $1,000 bill was discontinued in 1969.4 And like the $500 bill, the $1,000 bill would seem to have a lot more use now than it did then. Why? Inflation, of course. The Consumer Price Index (CPI) was at an estimated 36.8 back in 1969.Is Andrew Jackson on the $10 bill? › 1923: The $10 United States Note was redesigned with a portrait of Andrew Jackson. Some of the design aspects of this note, such as the bottom border and numeral 10 overprinted with the word TEN, were transferred over to the series of 1928 $10 bill.Who is the woman on the $10 bill? › Viola Desmond on the $10 note is a history lesson — but not everyone is learning - National | Globalnews.ca.Who is the guy on the $20 dollar bill? › 1918: A federal reserve banknote with Grover Cleveland on the front, and a back design similar to the 1914 Federal Reserve Note. 1928: Switched to a small-sized note with a portrait of Andrew Jackson on the face and the south view of the White House on the reverse.Who was on the $10 dollar bill before Hamilton? › $10 Bill - Alexander Hamilton Founding Father and former Treasury Secretary Alexander Hamilton's face is on the $10 bill. The first $10 bill issued by the Federal Reserve in 1914 had President Andrew Jackson's face. Hamilton's face was swapped in 1929, and Jackson moved to the $20 bill. The blue duck/Whio (Hymenolaimus malacorhynchos) was taken by photographer Rod Morris.Who is on the front of the $10,000 dollar bill? › The $10,000 bill featuring the portrait of President Lincoln's Secretary of the Treasury, Salmon P. Chase, was the highest denomination US currency ever to publicly circulate.Who is on the $10 bill 2017? › The $10 note features a portrait of Secretary Hamilton on the front of the note and a vignette of the United States Treasury Building on the back of the note.Who is on the 50th dollar bill? › The $50 note features a portrait of President Grant on the front of the note.Who is on the $5 bill? › The $5 note features a portrait of President Lincoln on the front of the note and a vignette of the Lincoln Memorial on the back of the note. In its first redesign since 1996, the new-design $100 note features additional security features including a 3-D Security Ribbon and color-shifting Bell in the Inkwell. The new-design $100 note also includes a portrait watermark of Benjamin Franklin that is visible from both sides of the note when held to light.Was there ever a $3 bill made? › Though a gold three-dollar coin was produced in the 1800s, no three-dollar bill has ever been produced. Various fake US$3 bills have also been released over time. These generally poke fun at politicians or celebrities such as Richard Nixon, Michael Jackson, George W.Are $2.00 bills still being printed? › Even though the print is less common, $2 bills are still being printed (160 million entered circulation in 2019) and count as legal tender. You can even pick them up at a bank, though it'll likely only feature the design that took to the presses in 1976.Do banks still give out $2-dollar bills? › Can You Get a $2 Bill at a Bank? Yes. Although you likely won't get $2 bills unless you specifically ask for them, most banks carry a stock of them. The amount of $2 bills each bank carries will vary, but most will have a supply you can ask for when you're taking out or converting money.Who is on the $5,000 dollar bill? › James Madison was the fourth U.S. president and is often referred to as the “Father of the Constitution” because of his role in writing America's founding documents. His portrait has been featured on the 5,000 dollar denominations of multiple series of U.S. notes.Who is on the $100 dollar bill and why? › Statesman, inventor, diplomat, and American Founding Father Benjamin Franklin has been featured on the obverse of the bill since 1914. On the reverse of the banknote is an image of Independence Hall in Philadelphia, which has been used since 1928.Who is on the $100 0 dollar bill? › There are many reasons why Benjamin Franklin's portrait is in the highest US bill denomination . So important was Benjamin Franklin that his portrait is on 17.7 billion $100 notes in circulation as of December 2021 according to the Federal Reserve.Who is on the $1000000 dollar bill? › President Thomas Jefferson Million Dollar Bill. These million dollar bills are professionally printed on the front and back.What is the most expensive $2 bill? › For those wanted to cash in big on their $2, look for a red seal. If it was printed in 1890 and uncirculated, it's worth $4,500. Other $2 bills with the red seal range from being worth $300 to $2,500.What is the biggest dollar bill? › The Federal Reserve Board currently issues $1, $2, $5, $10, $20, $50, and $100 notes. The largest denomination Federal Reserve note ever issued for public circulation was the $10,000 note. On July 14, 1969, the Department of the Treasury and the Federal Reserve System announced that currency notes in denominations of $500, $1,000, $5,000, and $10,000 would be discontinued immediately due to lack of use. Although they were issued until 1969, they were last printed in 1945.Who is on 100000 dollar bill? › Obverse Image: Portrait of Woodrow Wilson. Reverse Image: Decorative border in orange ink. Rays radiating from the center. The $100,000 bill is the highest denomination ever issued by the U.S. Federal Government.Why does my $10 dollar bill look different? › The bill also features microprinting that says "The United States of America," around the edge of the portraits frame. A redesigned $10 dollar bill made its debut on May 24, 2000. To help those with visual impairments, a large numeral 10 is featured on the back corner of the note, according to the Treasury Department.Has a woman ever been on a dollar bill? › To date, Washington remains the only woman honored on our paper currency. Her likeness was again used, next to her husband George, on the reverse (back) of the one-dollar note of 1896, part of the famous “Educational Series” of silver certificates.Who is the only woman on a US bill? › Martha Washington is the first and only woman to grace the primary portrait of U.S. paper currency.Is there a woman on any dollar bill? › Martha Washington remained the only woman whose image has been featured prominently on U.S. paper currency, the June 2022 post noted. That still is the case as of the date of publication of this Open Vault blog post. The Economy Museum has Washington 1886 and 1896 notes in its collection.Who is the black woman on the US currency? › Harriet Tubman, a former slave, and abolitionist who, as a “conductor” on the Underground Railroad helped hundreds of African-Americans escape slavery, will replace former U.S. President Andrew Jackson on the face of the $20 bill.Why is Benjamin Franklin on the $100 bill? › Answer and Explanation: Benjamin Franklin is on the $100 bill because of the impact he made on America and his work as one of the Founding Fathers. Although he was never president, Benjamin Franklin played a very important role in building our nation.Who is the lady on the 20 dollar bill? › Tubman lived through 22 presidential administrations, and almost 200 years after her birth, she would be linked to Obama, the first African American president, whose administration sought to honor her by placing her image on the 20-dollar bill.Who was on the $2 bill before Thomas Jefferson? › In March 1862, the first $2 bill was issued as a Legal Tender Note (United States Note) with a portrait of Alexander Hamilton; the portrait of Hamilton used was a profile view, different from the familiar portrait in use on the small-sized $10 bill since 1928. The first president, George Washington, has been on currency ($1) the longest, going back to 1869. Presidents Ulysses S. Grant ($50), Alexander Hamilton ($10) and Abraham Lincoln ($5) all appeared in 1914. Andrew Jackson has been on the $20 bill since 1928.Who is going to replace Andrew Jackson on the $20 bill? › Why replacing Andrew Jackson with Harriet Tubman is a deeply symbolic move. In 2016, Becky Hobbs, an American country singer and Cherokee Nation citizen, told the Associated Press her and her elders have always despised Andrew Jackson.Why is Hamilton on the 10? › The source of the portrait on the $10 bill is John Trumbull's 1805 painting of Hamilton that belongs to the portrait collection of New York City Hall. The $10 bill is unique in that it is the only denomination in circulation in which the portrait faces to the left.Who is on a $50 dollar bill? › Microprinting in the border and in Ulysses Grant's shirt collar in the $50 note. (In the $100 note, microprinting is found in the numeral in the note's lower left-hand corner and on Benjamin Franklin's lapel.) Concentric fine-line printing in the background of the portrait and on the back of the note.Who is on a $100 dollar bill? › The $100 note features a portrait of Benjamin Franklin on the front of the note.Who is on $2 dollar bill? › The first use of Thomas Jefferson's portrait on $2 notes was on Series 1869 United States Notes.Who has a $5,000 dollar bill? › $5,000: James Madison, fourth president, helped write Federalist Papers. $10,000: Salmon P. Chase, not a president, Lincoln's Secretary of the Treasury. $100,000: Woodrow Wilson, 28th president, served during WWI.Is Harriet Tubman going to be on the $20 dollar bill? › Tubman would be the first woman and Black American to be printed on a U.S. bill denomination. Specifically, Shaheen's bill would require the U.S. Department of Treasury to print all $20 Federal Reserve notes after December 31, 2030 bearing the likeness of Harriet Tubman.Is the 2006 dollar series valid? › No, you do not have to trade in your old-design notes for new ones. All U.S. currency remains legal tender, regardless of when it was issued.What is the biggest U.S. dollar bill? › American paper currency comes in seven denominations: $1, $2, $5, $10, $20, $50, and $100. The United States no longer issues bills in larger denominations, such as $500, $1,000, $5,000, and $10,000 bills. But they are still legal tender and may still be in circulation. Answer and Explanation: Benjamin Franklin is on the $100 bill because of the impact he made on America and his work as one of the Founding Fathers. Although he was never president, Benjamin Franklin played a very important role in building our nation.

<urn:uuid:f0c2b52a-85af-48aa-8a45-66cff5ae4625>

CC-MAIN-2023-40

https://sypost.best/article/who-is-on-10-dollar-bill-janetmccullar-2

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510781.66/warc/CC-MAIN-20231001041719-20231001071719-00095.warc.gz

en

here is the Neuschwanstein Castle located and why was it built? Castle Neuschwanstein was built on a hill overlooking Hohenschwangau, a village in southwestern Bavaria in Germany, and was constructed to serve as a retreat for Bavaria’s monarch, King Ludwig II. When was the Neuschwanstein Castle built and how was it paid for? King Ludwig began construction on the famous German castle in 1869 using his personal fortune as well as borrowed funds, but the palace was never fully completed. Table of Contents - 1 Discovering the Facts About Neuschwanstein Castle in Germany - 2 The History of Castle Neuschwanstein - 3 Neuschwanstein Castle’s Architecture - 4 Frequently Asked Questions Discovering the Facts About Neuschwanstein Castle in Germany |Architect||Eduard Riedel (1813 – 1885)| |Function||Palace, castle, and museum| |Location||Hohenschwangau, Bavaria, Germany| Neuschwanstein Castle in Germany was used as the King’s private residence until his passing in 1886. Following his death, the famous German castle was opened to the general public. Today, around 1.3 million people visit the site annually to learn more about the building’s history and to view the Neuschwanstein Castle’s architecture as well as explore inside Neuschwanstein Castle. We shall start our own exploration of this famous German castle by first looking at its history. The History of Castle Neuschwanstein Castle Neuschwanstein’s design embodies the architectural style that was fashionable at that time known as “Castle Romanticism”. It was also heavily inspired by (and was built in order of) Richard Wagner, the famous composer. A journey in 1867 also provided inspiration for the Neuschwanstein Castle’s architecture, as King Ludwig encountered several castles that were being reconstructed from old castle ruins into magnificent palaces, such as the Château de Pierrefonds, located northeast of Paris. Neuschwanstein project drawing by Christian Jank (1869); Christian Jank, Public domain, via Wikimedia Commons For the King, these palaces represented a romanticized version of the architectural styles of the Middle Ages – an aesthetic he wanted to incorporate into his own palace. Richard Wagner’s operas also left a lasting impression on him, and many of the artworks that would be featured inside Neuschwanstein Castle were based on the narratives of these plays. When Ludwig I passed away in 1868, the King suddenly had the necessary funds to build his dream Middle-Ages-themed palace far away from Munich, the capital of the royal empire at that time. In his letters to Richard Wagner, the King stated his intention to build a magnificent palace on the ruins of a castle that once stood atop the hill overlooking the village of Hohenschwangau. He added that he wanted to add certain elements that would remind Wagner of scenes from his works such as Lohengrin (1850) and Tannhäuser (1848). King Ludwig was so insistent on achieving the idealized romantic castle that he envisioned in his imagination that he commissioned Christian Jank, a stage designer, to draft the castle’s design. The architect Eduard Riedel was commissioned to construct a palace based on the draft concept. Due to certain technical reasons, the existing ruins could not be incorporated into the design. Initially, the design was much simpler, drawing stylistically from existing structures such as Nuremberg Castle. Neuschwanstein front façade and surroundings (photochrom print, c. 1900); See page for author, Public domain, via Wikimedia Commons However, these designs were rejected by the King who demanded extensive redrafts, insisting that he approve of each step before they proceeded. He was involved to such a degree that many people now view the Neuschwanstein Castle’s architecture as the result of his input more than the architects who were employed to build it. At the time of its initial construction, Castle Neuschwanstein’s design was ridiculed by architecture critics who viewed the massive palace as “Kitsch”. Nevertheless, today, it is considered to be one of the most significant examples of European historicism. Neuschwanstein Castle is composed of a number of distinct buildings that were built along a 150-meter cliff crest. The elongated structure is adorned with a multitude of towers, ornate turrets, balconies, gables, pinnacles, and statues. The complex of separate buildings provides picturesque views of the castle from all angles, framed by the mountains of the Tegelberg with the Pöllat River to the south and the lakes of the Alpine foothills to the north. A 1901 postcard of Berg Castle; AnonymousUnknown author, Public domain, via Wikimedia Commons It was created as the romantic view of a knight’s castle; but, unlike “actual” castles, whose construction is usually the consequence of decades of building activity, Castle Neuschwanstein was planned from the start as a deliberately asymmetric architecture, and developed in phases. Standard castle features were incorporated, but true defenses, the most significant component of a medieval noble estate, were excluded. The remnants of the medieval castles were entirely demolished in 1868, and the ruins of the ancient stronghold were blown up. The castle’s foundation stone was placed on the 5th of September, 1869; its cellar was completed in 1872, and construction up to the first story was finished in 1876, with the gatehouse built first. The gatehouse was finished and fully furnished by the end of 1882, enabling the king to take temporary quarters there and oversee the continuous construction work. In 1874, Riedel handed over control of the civil works to Georg von Dollmann. The Palas’ topping-out ceremony took place in 1880, and Ludwig moved into the new structure in 1884. Once Dollmann fell out of favor with the Monarch, the work was handed over to Julius Hofmann the next year. The castle started as a traditional brick structure and was eventually covered in various types of rock. The white limestone that they needed for the fronts was supplied by a local quarry. Schlaitdorf in Württemberg supplied the sandstone bricks for the gateways and bay windows. The arch ribs, windows, and capitals were all made of marble from Untersberg, near Salzburg. A steam crane that hoisted the cargo to the construction site assisted in the transportation of building supplies. Both boilers were examined on a regular basis by the newly formed Steam Boiler Inspection Association. Neuschwanstein under construction: Bower still missing, Rectangular Tower under construction (photograph c. 1882–85); Johannes Bernhard, Public domain, via Wikimedia Commons For over 20 years, the building site was the region’s primary employer. In 1880, the site was occupied by around 200 artisans, not including suppliers and other people who were indirectly participating in the building. When Ludwig insisted on very tight deadlines and urgent adjustments, up to 300 laborers per day were apparently active, often laboring at night assisted by the illumination of oil lamps. In 1870, an organization was formed to insure workers for a small monthly charge, which was supplemented by the King. Construction victims’ heirs received a little pension. Ludwig moved into the (still incomplete) Palas in 1884, and for his mother Marie’s 60th birthday in 1885, he brought her to Neuschwanstein. The exterior construction of the Palas Hall was mainly built by 1886. The initial wooden Marienbrücke over the Pöllat Gorge was replaced with a steel structure the following year by the King. Despite its enormity, Neuschwanstein Castle in Germany did not have the capacity for the royal court, instead housing just the King’s private quarters and servants’ quarters. The court buildings were built for ornamental rather than utilitarian purposes. The castle was basically built for King Ludwig II to function as a type of theatrical setting that was inhabitable. By the time King Ludwig died, the castle was far from completion. The outward constructions of the Palas and the Gatehouse were nearly done, however, the Rectangular Tower was still covered in scaffolding. Construction on the Bower had not commenced but was finished in a reduced version by 1892 but without the anticipated statues of the female saints. The Knights’ House was also reduced in design. In the King’s plans, the Knights’ House gallery columns were represented as the trunks of trees and the capitals as the accompanying crowns. Just the foundations for the royal complex’s centerpiece remained: a 90-meter-high keep designed for the top courtyard, situated above a three-nave church. This was not realized, and a connecting wing between the Bower and the gatehouse was also never built. Upon the King’s death, proposals for a terraced castle garden with a fountain were also abandoned. The royal living quarters of the palace were largely finished in 1886, with the corridors and lobbies painted in a simpler manner by 1888. The King’s ambition for a Moorish Hall was not realized, nor was the so-called Knights’ Bath, which, modeled after the Wartburg’s Knights’ Bath, was supposed to pay respect to the knights’ worship as a medieval baptism bath. In reality, a comprehensive extension of Neuschwanstein had never been intended, and there was no utilization plan for several chambers at the time of the King’s death. The monarch never intended for the castle to be open to the public. View from the location of the unrealized chapel along the upper courtyard level; Taxiarchos228, FAL, via Wikimedia Commons But, only two months after the death of the king, Prince-Regent Luitpold ordered that the castle be opened to paying guests. Until the outbreak of World War I, Neuschwanstein Castle in Germany was a consistent and valuable source of income for the House of Wittelsbach; in fact, King Ludwig’s palaces were most likely the Bavarian royal family’s single greatest source of revenue in the years preceding 1914. To guarantee a consistent flow of visitors, several rooms and court buildings were completed first. Guests were first able to walk freely throughout the castle, causing the furnishings to wear rapidly. The civil list was socialized when Bavaria became a republic in 1918. The ensuing conflict with the House of Wittelsbach resulted in a division in 1923: Ludwig’s castles, including Castle Neuschwanstein, were given to the state and are currently administered by the Bavarian Palace Department. Neuschwanstein Castle’s Architecture Neuschwanstein Castle in Germany is considered to be a typical example of 19th-century architecture. Elements of Romanesque, Gothic, and Byzantine architecture and art were merged in an eclectic style and complemented with 19th-century technical advances. The basic design was initially intended to be neo-Gothic, but the famous German castle was ultimately largely built in Romanesque style. Both externally and inside Neuschwanstein castle, the result is very stylistic. The king’s touch is felt throughout, as he took a personal interest in both the palace’s design and decor. The interior, particularly the throne chamber, is a continuation of the design of the royal Sicilian Norman-Swabian era churches and chapels in Palermo associated with the House of Hohenstaufen. The artwork makes reference to the German myths of Lohengrin, the Swan Knight, throughout Castle Neuschwanstein. Multiple rooms have borders representing Wagner’s many operas, including a theater that permanently displays the set of one of Wagner’s plays. Several of the interior rooms are still unfinished, with only 14 completed before the King’s passing. The Exterior of Neuschwanstein Castle The Castle Neuschwanstein complex is accessed via the symmetrical Gatehouse, which is enclosed by two stair towers. The eastward-facing gate building is the only edifice in the castle with a high-contrast color scheme; the court fronts are made of yellow limestone, while the external walls are made of red bricks. The upper level of the Gatehouse is topped with a crow-stepped gable and functioned as the King’s first residence at Castle Neuschwanstein, from where he often surveyed the hall’s construction before it was completed. The Gatehouse’s ground floor was designed to house the stables. The path through the Gatehouse leads straight onto the courtyard, which is divided into two levels, with the lower one delineated to the east by the Gatehouse and the upper one marked to the north by the Rectangular Tower’s foundations. The courtyard’s southern end is open, offering views of the surrounding mountain landscape. The courtyard is bordered at its western end by a bricked embankment, where a protrusion denotes the choir of the initially planned chapel. This church, which was never constructed, was supposed to form the foundation of a 90-meter keep, the planned architectural centerpiece. The chapel keep’s foundations are still visible in the pavement of the upper courtyard. The Rectangular Tower is the most prominent building on the upper court level. It, like most of the courtyard structures, primarily serves a decorative function as part of the complex. The Knights’ House marks the upper courtyard’s northern end. The Knights’ House, according to castle romanticism in Europe, would have served as the residence of the soldiers; in Neuschwanstein, however, estate and service chambers were housed here. The Palas Hall marks the western side of the courtyard. It is the castle’s primary residential structure and includes the King’s stateroom as well as the servants’ quarters. The Palas is adorned with several ornate chimneys and beautiful towers, and the court front is decorated with colorful frescoes. The Interior of Neuschwanstein Castle The castle would have included more than 200 rooms if it had been fully realized, including quarters for visitors and staff, however, in the end, only 15 halls and rooms were ever fully completed. The Palas’ lower stories house servants’ and administrative rooms, as well as quarters for today’s castle administration, and the top stories house the King’s staterooms. The Throne Hall occupies nearly the entire top level of the west-facing posterior building. The castle was also equipped with several of the newest technological advancements of the 19th century. It featured a battery-powered bell system for the castle staff, as well as telephone lines, among other features. A Rumford oven, which rotated the skewer with its warmth and so automatically changed the turning speed, was included in the kitchen. The hot air was utilized to power a central heating system, while other historical innovations included flowing warm water and even toilets with automated flushing. The Hall of the Singers The Hall of the Singers, located on the fourth story above the King’s quarters in the Palas’ court-side wing, is the biggest room in the castle. This area was one of the King’s favorite projects for the castle and was created as a combination of two of the Wartburg Castle’s rooms: the Ballroom and the Hall of the Singers. The rectangular chamber was designed with scenes from the mythical tales of Parzival and Lohengrin. The Hall of the Singers was never intended for the reclusive King’s court celebrations. Instead, it functioned as a walkable memorial to the lifestyle of knights and courtly love in the Middle Ages, similar to the Throne Hall. A concert marking the 50th anniversary of Richard Wagner’s death was held in this hall in 1933. The Hall of the Singers; Josef Albert, Public domain, via Wikimedia Commons The Throne Hall The Throne Hall is located in the Palas’ west wing. It is encircled on three sides by multicolored arcades, terminating in an apse that was supposed to house Ludwig’s throne but was never finished. The artworks on the throne dais depict the Twelve Apostles, Jesus, and six canonized monarchs. Wilhelm Hauschild produced the mural paintings in Throne Hall and the floor mosaic in the hall was only completed after the death of the king. The chandelier is designed to resemble a Byzantine crown. The Throne Hall was designed to leave an impression of sacredness on those who entered. The Royal Lodging Rooms Apart from the big ceremonial chambers, King Ludwig II had other smaller rooms constructed for his personal use. The royal quarters are on the third story of the palace, in the Palace’s east wing. It is comprised of eight living rooms and various smaller rooms. Despite the extravagant decor, the living room, with its average room size and couches and suites, gives guests a relatively modern impression. King Ludwig II did not value the representational obligations of past eras when a monarch’s life was primarily public. He also did not adhere to the aesthetic standards of the era, choosing to decorate the palace as he deemed suitable. The interior design featured murals, tapestries, furniture, and other handicraft that usually corresponded to Ludwig’s favored themes: the grail myth, Wolfram von Eschenbach’s writings, and Richard Wagner’s interpretation of them. The eastward drawing room is decorated with elements from the mythology of Lohengrin. The furniture, which includes armchairs, a table, a sofa, and seats in a northward alcove, is pleasant and inviting. The passageway to the study is formed by a little artificial grotto next to the drawing room. The dining room, which is situated opposite the study, is decorated with images of courtly love. The Throne Hall; Josef Albert, Public domain, via Wikimedia Commons The only remaining neo-Gothic rooms in the castle are the bedroom opposite the dining room and the later house chapel. A massive bed decorated with carvings occupies the King’s chamber. Around 14 carvers labored on the bed canopy with its multiple pinnacles and the oaken paneling for over four years. On the night of the 11th of June, 1886, the King was arrested in this chamber. The servants’ quarters in the Palas’ basement are sparsely furnished with huge wood furnishings. Apart from one table and one cupboard, there are two 1.80-meter-long beds. The chambers were divided from the passage that connects the outdoor steps to the main staircase by opaque glass windows, permitting the King to arrive and depart without being seen. The staff was not permitted to use the main stairs, but only the considerably smaller and steeper servants’ stairway. That concludes our look at the facts about Neuschwanstein Castle. This renowned old castle is renowned as an architectural paradox. It was constructed at a period when castles were no longer needed as fortresses, and despite its idealized medieval style, King Ludwig II ordered it to include all of the latest technology amenities. Ludwig was a supporter of the composer, Richard Wagner, and the stories that inspired the composer are represented by wall paintings throughout the castle. Unfortunately, the king did not live to see the completion of the castle. In fact, it was never fully complete to the original plan and was largely simplified after his passing. After his passing, the castle was opened to the general public at a fee. Frequently Asked Questions When Was the Neuschwanstein Castle Built? Construction started in 1869 after King Ludwig II had explored several castles in Europe that had been constructed from castle ruins. He hoped to do the same in his own country and wanted it to be a retreat based on the castles and landscape he had envisioned after listening to Richard Wagner’s music and plays. Where Is the Neuschwanstein Castle Located? It is located near the village of Hohenschwangau, built on the hills surrounding the village. The village is located in Bavaria and was built as a place where the king could live out his fantasies of residing in a Medieval palace. It would act as an escape from Munich, an inhabitable scene from a play or mythical story. Justin van Huyssteen is a freelance writer, novelist, and academic originally from Cape Town, South Africa. At present, he has a bachelor’s degree in English and literary theory and an honor’s degree in literary theory. He is currently working towards his master’s degree in literary theory with a focus on animal studies, critical theory, and semiotics within literature. As a novelist and freelancer, he often writes under the pen name L.C. Lupus. Justin’s preferred literary movements include modern and postmodern literature with literary fiction and genre fiction like sci-fi, post-apocalyptic, and horror being of particular interest. His academia extends to his interest in prose and narratology. He enjoys analyzing a variety of mediums through a literary lens, such as graphic novels, film, and video games. Learn more about the Art in Context Team.

<urn:uuid:53f12b17-0d33-4da1-85b2-71a68848a600>

CC-MAIN-2023-40

https://artincontext.org/neuschwanstein-castle-in-germany/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506320.28/warc/CC-MAIN-20230922002008-20230922032008-00495.warc.gz

en

he first Gothic cathedrals were built in the second part of the 12th century. The building of Gothic churches required architects, stonemasons, expert carpenters, and glassworkers, and it could take hundreds of years to build, which utilized the labor and contributions of entire cities. The gothic architecture reflected the ideals, tastes, and spirituality of the time. Today we will explore the world’s most noteworthy examples of Gothic church architecture, examining the reasons why they were built, how they were built, and discussing the Gothic cathedral interior and exterior elements. Table of Contents - 1 Noteworthy Gothic Cathedrals - 1.1 Notre Dame de Paris (1163) – Paris, France - 1.2 Seville Cathedral (1172) – Seville, Spain - 1.3 Chartres Cathedral (1194) – Chartres, France - 1.4 Siena Cathedral (1215) – Siena, Italy - 1.5 Zagreb Cathedral (1217) – Zagreb, Croatia - 1.6 Salisbury Cathedral (1220) – Salisbury, England - 1.7 Bourges Cathedral (1230) – Bourges, France - 1.8 York Minster (1230) – York, England - 1.9 Wells Cathedral (1239) – Wells, England - 1.10 Basilica of Saint Francis of Assisi (1253) – Assisi, Italy - 1.11 Reims Cathedral (1275) – Reims, France - 1.12 Orvieto Cathedral (1290) – Orvieto, Italy - 1.13 Saint Vitus Cathedral (1344) – Prague, Czech Republic - 1.14 Milan Cathedral (1386) – Milan, Italy - 1.15 Cologne Cathedral (1560) – Cologne, Germany - 2 Frequently Asked Questions Noteworthy Gothic Cathedrals Sometimes people assume that Gothic churches are connected to the Germanic people known as the Goths who thrived in the early 400s AD. Gothic architecture only arose in the 12th century, known then as the “French Style”, and it wasn’t until the 16th century that it became referred to as Gothic architecture, which was a derogatory term, as the actual Goths were regarded as barbaric and primitive. Light and verticality are essential features of Gothic Church architecture, with the glass-stained windows enabling much sunlight to enter the Gothic cathedral interior spaces. Although examples of Gothic architecture can be observed in many palaces, town halls, and castles from the period, the style is best exemplified by the beautiful Gothic cathedrals found across Europe. Here is our list of noteworthy Gothic churches for you to explore. Notre Dame de Paris (1163) – Paris, France |Architect||Pierre de Montreuil (1200 – 1266)| Notre Dame de Paris is probably the most recognizable and well-known of all medieval Gothic churches. It was constructed over the ruins of two previous churches, which were erected on a Gallo-Romanesque sanctuary devoted to Jupiter’s cult. Its facade, enclosed by two Gothic towers and dedicated in 1189, is one of France’s most iconic landmarks. Until the erection of the Eiffel Tower in the 19th century, the spires of the famous cathedral towered above the Parisian skyline. Notre Dame de Paris (1163) in Paris, France; Ali Sabbagh, CC0, via Wikimedia Commons It has remarkable dimensions: it is a Latin cross cathedral with five naves and double aisles. Notre Dame was also one of the first structures to incorporate flying buttresses, making it a spectacular achievement of the ambitious Gothic Rayonnant style. It’s tough to ignore the charm of the statues in this Gothic church. The cathedral was designed as a “poor person’s book,” with sculptures telling religious stories through visuals to masses of illiterate worshippers. Seville Cathedral (1172) – Seville, Spain |Architect||Alonso Martínez (c. 14th century)| The Cathedral of Seville, conceived on a grand scale by the Canons of Seville as early as 1401, remains Europe’s largest church. It does not disappoint, and not only because of its sheer enormity – the main nave rises to a breathtaking 42 meters. There is a variety of art within, not least the magnificent Main Altar, and while the architecture is predominantly Gothic, there are a few Islamic architectural aspects. Though the main Almohad Mosque was destroyed to make place for it, certain characteristics survive. Some are prominent, such as the Giralda tower, but others are less so. The courtyard was once a part of the mosque. It was significantly remodeled in the 13th century for use as a monastery and cemetery. Traditionally, an apse with an atrium at the east end would be expected in a Gothic Cathedral. The Royal Chapel is the burial ground of generations of Spanish Royalty. Chartres Cathedral (1194) – Chartres, France |Architect||Master of Charters (c. 12th century)| The Chartres Cathedral, dedicated to the devotion of the Virgin Mary, is a Gothic architectural landmark. Its portals, stained-glass windows, embellishments, and carved statues are in superb condition. They make the church one of the best-preserved specimens for studying the period. The western facade is contained between two towers, as is typical of French Gothic. One features a complex and thin construction with spandrels. It’s a great representation of extravagant Gothic. The Portail Royal has three entries with a multitude of reliefs, sculptures, and statuary columns. Their iconography, which depicts the cycles of the seasons, the constellations, and even a strange bestiary, is still tied to Romanesque influences in certain cases. Nevertheless, it is the famed labyrinth of Chartres that draws symbolists. It is situated on the main nave’s floor and portrays a sanctification road that travelers must take to discriminate between evil and good. A word of caution: there is just one exit. Siena Cathedral (1215) – Siena, Italy |Architect||Giovanni Pisano (1248 – 1315)| Despite their numerous recurring aspects, Gothic churches in Europe are all differentiated by local characteristics and national differences. In Italy, for instance, Gothic church architecture expanded throughout the country, although it was less intense compared to the other side of the Alps. For that reason, Italian gothic is often known as temperate gothic. There are no Gothic churches in Italy that reach dizzying heights or employ the immense sculptures found in their French counterparts. Siena Cathedral (1215) in Siena, Italy; © Raimond Spekking The Italian Gothic church architecture was kept simple and traditional. The façade of Siena was designed on two levels and incorporates aspects of the French Gothic heritage as well as classical architecture. The utilization of polychrome marble and geometric ornamentation adds a Tuscan touch to the construction. The top level is more evocative of French Gothic churches, featuring pinnacles and gothic ornamentation. The Gothic cathedral interior features an exquisite rose window by Duccio di Boninsegna and a carved marble pulpit by Nicola Pisano. Zagreb Cathedral (1217) – Zagreb, Croatia |Architect||Hermann Bollé (1845 – 1926)| The Zagreb Cathedral’s history began in the late 11th century, shortly after the founding of the Zagreb bishopric. In 1217, an early church in neo-Romanesque design was dedicated. It was severely destroyed during the Mongol invasion in 1242, but repair began shortly after. The eastern portion of the Cathedral was built in Gothic style between 1264 and 1284, with lower vaults. Western walls, as well as lower portions of the two belfries, were built between 1366 and 1433. Vaults of identical height were completed in all of the aisles and the raised choir between 1500 and 1510. The nave was altered and elevated. By this point, the Ottoman Empire’s expansion had put Zagreb in peril. The Gothic cathedral gained added baroque embellishment in the 18th century, including a baroque pulpit and beautifully adorned altars. With the Turkish invasion gone, the fortification walls on the east and south sides were repaired and converted into the archbishop’s residence. Salisbury Cathedral (1220) – Salisbury, England |Architect||Richard Poore (d. 1228)| The Anglican cathedral is one of Britain’s greatest representations of early-English Gothic architecture, and it is important to note that it is one of only three churches in England without a ring of bells, the other two being Norwich and Ely. Salisbury is home to the highest church spire in the United Kingdom. It has the world’s oldest operating mechanical clock, which dates from around 1386, as well as a remarkable collection of gothic stained-glass windows, notably the “Rose Window”. Salisbury Cathedral (1220) in Salisbury, England; Antony McCallum: Who is the uploader, photographer, full copyright owner and proprietor of WyrdLight.com, CC BY-SA 4.0, via Wikimedia Commons The current Salisbury Cathedral was erected in just 38 years, from 1220 until 1258, under the administration of Bishop Richard Poore, who provided the site for the cathedral. It is without a doubt one of the most recognizable medieval structures in the country. The presence of possibly the single most significant artifact in English history – the Magna Carta – is undeniably the major attraction. Since 1215, just four copies have survived, with Salisbury being the finest preserved. Bourges Cathedral (1230) – Bourges, France |Architect||Guillaume de Danjeon (1140 – 1209)| From the 12th through to the 15th century, the Gothic style flourished over Western Europe until being superseded by Renaissance designs. With the erection of the Abbey of Saint-Denis, the first cathedral, France became the place from which the style would emerge and spread. The Bourges cathedral, devoted to Saint-Étienne, the first Christian martyr, is one of the most representative, even if not the most renowned, of these French masterpieces. This majestic structure was built on the site of an older monastery starting in the late 1100s. It was closely tied to the Capetian dominance of the region, for which it would become a monument. The two asymmetrical turrets, one with lavish Gothic crockets and pinnacles, and the imposing system of double flying buttresses distinguish Bourges Cathedral. Its carved portals are especially noteworthy, notably the one portraying the Last Judgment. York Minster (1230) – York, England |Architect||Walter de Gray (1180 – 1255)| Originally a wooden church, it was eventually constructed in stone, and King Oswald oversaw its completion. It was significantly repaired in 664 AD, and once again following a fire in 741 AD. This structure survived a bit longer but was demolished in 1069 during the Norman assault on the city. York Minster is an example of Gothic architecture. It was previously a Norman cathedral. Archbishop Roger of Pont L’Eveque constructed a Norman choir around the end of the next century. He appears to have been inspired by Durham Cathedral’s design. The current building’s construction started in 1220, was directed by Archbishop Walter de Grey, and lasted over 200 years. It represents almost every phase of Gothic architecture from 1230 until 1475. This design is distinguished by its pointed arches and ornate embellishments. The original Norman structure was demolished as work continued. Wells Cathedral (1239) – Wells, England |Architect||William Joy (1329 – 1348)| The very first representative early-Gothic English architecture, Wells Cathedral in South-West England, broke with the prior Romanesque style. Its design exemplifies how the Gothic architecture style took on several national variants. The most notable feature of the structure is arguably the spectacular West Front, which was finished in the mid-1200s and features over 300 human figure sculptures. Sculptures in French designs were normally positioned in the gateway, but at Wells, they cover the full façade’s recesses. Because the carved figures were painted blue, red, and white throughout the Medieval period, the impact must have been much more spectacular. Another intriguing aspect of Wells Cathedral is its musical history. The quatrefoils over the entryway have holes in them. This allowed the choristers’ voices to be heard straight from the façade, a feature that distinguishes this intricate Gothic church. Basilica of Saint Francis of Assisi (1253) – Assisi, Italy |Architect||Elias of Cortona (1180 – 1253)| The Basilica of Saint Francis of Assisi is a popular pilgrimage destination for Catholics all around the world. Its architecture will likely amaze visitors since it is a real blend of Gothic and Romanesque features. It symbolizes the start of a new creative period. In truth, the basilica appears to be a true twofold church, with distinct buildings and functions. Basilica of Saint Francis of Assisi (1253) in Assisi, Italy; Berthold Werner, Public domain, via Wikimedia Commons The Upper Basilica, more in the Gothic style, was intended for events and preaching, whilst the Lower Basilica, which included the crypt of Saint Francis, the order’s namesake, was intended for reflection and more private devotion. The church’s design achieves a fine and balanced unification; there are characteristics associated with the Umbrian Romanesque traditions, such as the gabled facade and the sturdy quadrangular towers, as well as parts inspired by the more contemporary Gothic style. Pointed arches in the nave, buttresses, and ogival cross vaults are examples of this influence. Reims Cathedral (1275) – Reims, France |Architect||Jean d’Orbais (1175 – 1231)| Reims Cathedral is regarded as one of the most important examples of Gothic architecture in the world. What gives this structure its personality? For 800 years, it played a pivotal part in French history. The French-German reconciliation was also officially confirmed in Reims in 1962. The buttresses at Reims Cathedral are also lovely ornamental embellishments that represent the cathedral’s grandeur. Because of the arches that support the building’s framework, bigger apertures have been created, enabling light to penetrate through the spectacular stained-glass windows. The lit cathedral became a spectacular light display, just as its designers planned in the early 13th century. There are also 2,300 sculptures that add to the cathedral’s charm: arches, statue columns, ornamental figures both inside and outside, tabernacles, and the famed smiling angel. Orvieto Cathedral (1290) – Orvieto, Italy |Architect||Lorenzo Maitani (1275 – 1330)| The cathedral of Orvieto may not be one of the most well-known cathedrals in Italy, but it certainly possesses its beauty since it is a hidden jewel. It was constructed towards the end of the year 1200 by the order of Pope Nicholas IV to commemorate the Eucharistic Miracle of Bolsena, a town near Orvieto. According to tradition, while celebrating Mass in the little community, a priest discovered that the holy body was bleeding on the corporal. The precious relic is presently housed in a chapel within the cathedral. Orvieto’s church includes gothic characteristics based on an Italian interpretation. Its rose window, which Orcagna restored, is very noteworthy and has a unique form, with a 22-sided polygon pattern. The facade of the cathedral is exquisite and is regarded as a great work of ecclesiastical architecture. It has three big bronze doors, stunning gilded mosaics, and a magnificent rose window. Saint Vitus Cathedral (1344) – Prague, Czech Republic |Architect||Peter Parler (1333 – 1399)| |Location||Prague, Czech Republic| St Vitus Cathedral is a Gothic church of the Roman Catholic denomination situated on the grounds of Prague Castle, rising over Prague’s Lesser Town. It is without a doubt one of the most notable and recognizable monuments in Prague and throughout Czechia. The Gothic cathedral is much more than a wonderful destination of Christian devotion and religious retreat. It can only be defined as an exceptional piece of art and an awe-inspiring sight. Seeing it with your own eyes is a once-in-a-lifetime opportunity. St Vitus Cathedral is regarded as one of the nation’s most prominent monuments and a spiritual icon of the Czech Republic. St Vitus Cathedral has housed the bishop of the Prague diocese since the 10th century. Aside from an inconceivable number of services and other Catholic events, several Czech monarchs and queens were coronated here. It is the last resting place of many monarchs, saints, lords, and archbishops. Milan Cathedral (1386) – Milan, Italy |Architect||Donato Bramante (1444 – 1514)| Milan is a vibrant and bustling city, but its historic cathedral is regarded as the city’s heart. It is devoted to Saint Mary, and the gilded figure of the Virgin, positioned on the topmost spire, is an iconic emblem of the city. The Milan Cathedral is not intimidated by large crowds: it is the biggest church in Italy (except for the Vatican) and can hold up to 40,000 individuals. It is also lavishly ornamented with gothic sculptures, figures, and gargoyles. Among them is the “New Law” (1810), a near-identical replica of the Statue of Liberty. The building of Milan Cathedral took over 600 years and it is still not done! Its facade was inaugurated in 1418 but remained incomplete for centuries until Napoleon intervened. It is still the focus of ongoing repairs and cleanings to preserve its white and pink marble. The preservation project was initiated by king Gian Galeazzo Visconti to commemorate his family’s regional expansion. Cologne Cathedral (1560) – Cologne, Germany |Architect||Master Gerhard (1210 – 1271)| Germany is not just known for its medieval castles and fortifications; Gothic churches also made an impression throughout the Middle Ages. Cologne Cathedral, for instance, is Northern Europe’s biggest Gothic church. Its two towers with massive spires are over 150 meters tall, making it the highest structure in the world until 1884. As a pilgrimage destination, it also ranks among the most visited locations in Germany. Cologne Cathedral has housed the relics of the Three Kings since the Middle Ages, which were removed from another cathedral in Milan by Frederick Barbarossa, the Holy Roman Emperor. This holy relic was incredibly important for Christian devotion and is now housed in a golden casket designed by the renowned goldsmith Nicolas de Verdun. The Gothic cathedral has also survived many of the 20th century’s worst dramatic periods. During WWII, it was bombed 14 times, and one of its beautiful stained-glass windows was destroyed. Gerhard Richter, a modern visual artist, recreated it in 2007, producing a modern stained-glass window replete with pixels – a new kind of Gothic glasswork. Gothic architecture has become one of the globe’s most unique construction styles, both aesthetically extravagant and philosophically transcendental. Though it started in the Middle Ages, the unique genre continues to enchant today, as seen in examples of some of Europe’s breathtaking Gothic cathedral architecture. While Gothic architecture appears to be a unique building style, its distinctive design has been influenced by a variety of inspirations through the ages. Frequently Asked Questions How Do You Define Gothic Architecture? Gothic architecture is a European architectural form that emphasizes height and has an ornate and exquisite appearance. Despite its initial French origins, the Gothic architecture style may be found in cathedrals, castles, and other comparable structures across Europe and beyond. While the Gothic style varies depending on age, location, and kind of structure, major architectural characteristics such as pointed arches, massive stained-glass windows, flying buttresses, rib vaults, and rich ornamentation are common. What Are the Characteristics of Gothic Cathedrals? The gothic architecture used and altered Romanesque components to create a new architectural style with exaggerated arches, expanded vaulting, and bigger windows. Nevertheless, in addition to redefining these features, Gothic architecture discarded one crucial aspect of Romanesque construction: substantial walls. Gothic architects used flying buttresses to support higher, more delicate structures with thinner walls. These stone constructions enabled builders to build airy castles and churches that stretched toward the skies. Justin van Huyssteen is a freelance writer, novelist, and academic originally from Cape Town, South Africa. At present, he has a bachelor’s degree in English and literary theory and an honor’s degree in literary theory. He is currently working towards his master’s degree in literary theory with a focus on animal studies, critical theory, and semiotics within literature. As a novelist and freelancer, he often writes under the pen name L.C. Lupus. Justin’s preferred literary movements include modern and postmodern literature with literary fiction and genre fiction like sci-fi, post-apocalyptic, and horror being of particular interest. His academia extends to his interest in prose and narratology. He enjoys analyzing a variety of mediums through a literary lens, such as graphic novels, film, and video games. Learn more about the Art in Context Team.

<urn:uuid:88c0584f-e986-4c46-86a5-c2b61521740c>

CC-MAIN-2023-40

https://artincontext.org/gothic-cathedrals/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510529.8/warc/CC-MAIN-20230929222230-20230930012230-00195.warc.gz

en

With reference to at least two novels, explore the ways in which point of view informs our reading of narrative fiction Point of view is the position from which the action of a narrative is viewed and presented to the reader. While there are various forms of point of view, the chief distinctions often cited are third person narratives and first person narratives. The third person narrator may be omniscient, and is as a result able to show an unrestricted knowledge of the story's events from outside them. There is an alternative form of third person narrator: one who may confine the reader's knowledge of events by whatever is observed by a single character or small group of characters. Limited point of view allows the story to be told by the protagonist of the story and therefore allows the reader to feel a greater connection to that character and to empathise with or dislike them depending on the reader's personal preference, or the author's projection. This point of view is the 'limited point of view'. The first person narrative point of view is often restricted to his or her partial knowledge and experience. Therefore, there is limited access to the emotions and hidden thoughts of the other characters in such a narrative. Jane Austen extended the definition of point of view through her use and refinement of free and indirect discourse. By this method, Jane Austen merged the thoughts of her narrators and of her characters. However, it still remains primarily a form of third person narration and it utilises some of the characteristics of first person direct speech. Through this method Austen gives the reader a much closer relationship to the characters, whilst enabling the author to convey personal points of view on given situations. If you need assistance with writing your essay, our professional essay writing service is here to help!Essay Writing Service Defoe's Moll Flanders is the story of eponymous character and her infamous, often illegal, life. The narrative is written in first person, seen through the eyes of an older reminiscent Moll. Moll Flanders is an 'autobiographical' account, which sees Moll Flanders describe her life up until the point of her repentance in Newgate Prison. Defoe is experimenting with the narrative form in this novel by writing an autobiographical confession of a woman. Written from Moll's point of view, it allows the reader to empathise with Moll and ultimately begin to care about what happens to her. As the events of the narrative are seen through the eyes of Moll there are certain events of Moll's life that remain and ambiguous. Moll as the narrator is able to set the tone and pace of the narrative, she can choose to go into great detail about events in her life, or skim over them as she pleases, for example the details of Moll's first marriage are restricted to one page , demonstrating how unimportant were the five years of her marriage to Robin. Defoe's principle of point of view was to commit himself to the fiction of Moll's life, while utilising his imagination to fully convey a seemingly factual account of events. This juxtaposition of styles enabled Defoe to present Moll's point of view. Moll's point of view is expressed throughout and is the only point of view that is prevalent in the novel. According to the preface, the story that Moll relates has only been edited by Defoe. He clearly points out that this is for the sake of decency. According to Defoe, Moll's words were, 'having been written in Language more like one still in Newgate'. By emphasising that this novel is the story of Moll told by Moll, Defoe has defined the point of view of the novel. This definition is important to the reader, as it immediately informs them that what they are going to read is a true account of Moll's life. The reader is instantly connected to Moll much beyond the action of just reading her story. Instead, the reader is aware that they will be seeing events from an up-close and more personal manner. As a result, the drama of the narrative is dictated by what Moll chooses to exaggerate and what she chooses to ignore or, only briefly comment upon. The tensions between these and the readers' close connection to Moll through the first person point of view drive the narrative. Utilising this narrative technique, Defoe creates a character through which the reader can feel and experience Moll's particular and peculiar perception of the world and compare it to the world as it is. As the novel is allegedly autobiographical, and more so that Moll is apparently telling her story near the end of her life, this combination of narrative techniques creates a double point of view: there are arguably two women in this novel, the younger, crafty, scheming and immoral Moll and the older, reminiscent, repentant, Moll. Through telling the story from a more mature and experienced position, the 'older' Moll's character and philosophy filter through into her telling of 'younger' Moll's past. The younger Moll essentially still rules the older Moll; her own understanding of life comes from the relating of these experiences. The reader is aligned with the older Moll as the reader's sympathies and understanding of Moll are shaped by her escapades as a younger character. The reader knows redemption is forthcoming as it is stated in the title page, however, the reader begins to sympathise with Moll as she inexplicably descends in to moral ambiguity, crime and prostitution. This almost unconscious double view point of Moll shapes the novel and the readers understanding of the character. Moll's, narration of her life takes the form of her awareness of her past through various stages: innocence, dishonesty, guilt and finally redemption. Moll's transition through these stages ultimately hinges upon material gain. She repeatedly emphasises her achievements in gaining material independence and the craft she utilises in achieving such independence. Defoe uses irony in describing Moll's boasting in her ascendance to fame, particularly when Moll boasts of outdoing the infamous Moll Cut Purse. Moll narrates the story of her past in the spirit in which she lived the events and, although she narrates with energy and pleasure, she occasionally expresses regret at some occasional events of youthful inexperience. Hindsight to Moll is merely a way in which she expresses how she would have altered events to have made life better for her. For instance, she confides that had she known then what she now knows from experience, her first affair would have been a different matter: ... if I had known his thoughts, and how hard he supposed I would be to be gain'd, I might have made my own terms, and if I had not capitulated for an immediate marriage, I might for a maintenance till marriage, and might have had what I would; .... Humorously, Moll's sorrow at this event is expressed, with sincerity. However, the fact that she is repenting this affair purely on the basis that she could have made it of more benefit to herself is heavily and amusingly ironic. Such repentance and musings on her past allow the reader to understand the true nature of Moll's character. The narrative style makes it possible for the reader to truly feel as if they understand Moll. The first person point of view allows for a closer examination of who Moll is and what it is that drives her, even though it is a perspective that is derived from a Moll of more advanced years. There are, however, limitations to Moll's point of view. Moll's obsession upon independence and financial gain prohibits the reader from seeing beyond that point of view. Moll is capable of giving the briefest overview of passing years with, at most, a few words of comment. In her eyes, not much of importance has happened, as with the five years of marriage to Robin. This does not give Moll a rounded character in the eyes of the reader, instead, the reader is left with the impression that there is perhaps more to Moll, yet there is no way of extracting it from the text as Moll's narration allows the reader to see only what she is prepared to reveal. Conversely, small events can be extremely significant to Moll, and she offers pages of narrative to particular details she feels are important, ultimately stories of her attempting to win financial independence. As a result of this episodic, controlled re-telling of events, the reader is left with the impression that life according to Moll is a sequence of events she takes pride in relating Through a series of episodes, Defoe creates a character driven by the need for material gain. Moll is not a commentator of the situation of the poor in London, and arguably Defoe does little to enforce a criticism of London during his period. Assumptions such as these are left to the individual reader. Defoe's Moll comments upon those things that are important to her. She does not look at London as a city populated by prostitutes and whores, instead she sees potential escape routes and items to steal in shop windows. Her telling of the story is reliant upon her observations and musings of those things that affect her directly: Defoe is true to his art, to Moll's point of view. Moll never sees her background with any real perception, although she is aware of some of the reasons for her youthful depravities. Despite the fact that she roams about London, about England and America, she notices very little of eighteenth-century panorama It would be incorrect however, to only presume that Moll is purely motivated by the need for and material gain. Although Moll's point of view primarily informs the reader that she is interested in only the procurement of a better life through material wealth, the reader learns that Moll is motivated by envy for what she considers gentlewomen and by her ceaseless forceful nature to dominate her environment and to climb out of situation she was born into. Her descent into a life of crime is driven by her will to create a better life for herself. The irony is obvious; she cannot remove herself from her origins without at first accepting them and then utilising the skills implicit in that lifestyle. Moll's point of view throughout the narrative also forces the reader to question whether or not her repentance should be seen as genuine, or just another attempt by Moll to improve her situation. Given her situation, facing execution, it is entirely probable that she seemed to repent, as she claims, '...a secret suprizing Joy at the Prospect of being a true Penitent, and obtaining the Comfort of a Penitent...' However this supposed penitence is offset by the lack of contrition after her transportation: perversely Moll, during her transportation to America, does all she can to secure herself a good berth for the voyage, further emphasising her need to be better than the rest. The reader is forced to make their own judgements as to whether or not Moll truly repents. Her tale, thus far, of immorality, cannot be ignored. Moll's point of view here does little to inform the reader of her true nature. Instead, it asks the reader to engage their own feelings on the topic. Moll herself states: "This may be thought inconsistent in it self, and wide from the Business of this Book; Particularly, I reflect that many of those who may be pleas'd and diverted with the Relation of the wild and wicked part of my Story, may not relish this, which is really the best part of my Life, the most Advantageous to myself, and the most instructive to others; such however will I hope allow me the liberty to make my Story compleat." Jane Austen's Persuasion offers a different perspective of narrative fiction than that of Moll Flanders, by providing the reader with an entirely different point of view. Where as Defoe's novel is written in the first person form, allowing the reader to see and learn exactly what the narrator wants them to, Persuasion is written in the third person. The reader sees the events of the narrative unfold through the eyes of the protagonist, Anne Elliot, but also has the benefit of an authorial voice. This element allows the reader to see a broader view of events. While the reader learns more about the protagonist's feelings and emotions, events and action in the narrative are arguably less self obsessed, as they are in Moll Flanders, and less biased, taking in a more rounded view of the situation and thereby allowing the reader to gain a more reasonable and reliable understanding of the narrative. Persuasion, like Jane Austen's previous novels, relies upon her ability to craft a narrative based within narrow limits. Her narrative never strays beyond family tensions, romance and the social classes that she would have interacted with. Austen's works are contained to a small social world of the rural/landed gentry and the similar social circles inhabiting Bath. Walter Scott says of Austen: That young lady has a talent for describing the involvements and feelings and characters of ordinary life, which is to me the most wonderful I ever met. The big Bow-wow strain I can do myself like any now going; but the exquisite touch, which renders ordinary commonplace things and characters interesting, from the truth of description and sentiment, is denied me' This vindication of her methods highlights how well received and regarded were her novels. It also emphasises the understanding that Austen had of personal relationships and the people of her society. Her works contain nothing superfluous and she does not introduce to the narrative anything that is not directly relevant to her central theme of the personal relationships between people. Our academic experts are ready and waiting to assist with any writing project you may have. From simple essay plans, through to full dissertations, you can guarantee we have a service perfectly matched to your needs.View our services In Persuasion, there appears to be a change in Austen's style of writing. In her earlier novels, Austen makes use of free and indirect speech. However, in Persuasion, Austen uses it to a greater extent. According to Norman Page, 'it is Persuasion that offers the fullest and most important use of free indirect speech in Jane Austen's work, and represents a remarkable and fascinating step towards technical experimentation at the end of the novelists life.' This technique employed by Austen of the third person narrative told through various points of view through Anne, showing her views, observations and reactions but still in the form of a third person narrative liberates the reader. Austen is still in control of the text, guiding the narrative and shaping the readers understanding of the events, but rather than being merely an outside observer, speaking through a protagonist, she empowers Anne Elliot, and gives her a descriptive ability much like Moll's in Moll Flanders. Persuasion is relatively light-textured in comparison to Austen's Emma. Anne Elliot, over the course of the novel, and because of the narrative is persuaded to think better of herself. The readers sympathies are engaged, the use of free indirect discourse allows the reader to see actions from Anne's perspective whilst taking in the wider view of events and thereby emphasising Anne's situation. Anne thinks freely whilst her actions are curtailed. The reader can see that she wishes to act with the carefree spontaneity she sees and admires in other characters, but is unable to do so. Everything in the narrative is seen from Anne's point of view. Anne's aptitude for self ridicule allows the free indirect style of her thoughts 'can offer a seemingly sufficient scope'. The other characters of the novel only have a place in relation to Anne. For example, Benwick, a character of education and literary learning's, is given no direct speech, instead all of his dialogues are reported by Anne. Due to this focused point of view, Anne seemingly becomes isolated from almost all of the characters within the text, As Gillian Beer states, Anne's predicament is that she is not so much a commonwealth as a solitary island, endlessly discoursing within herself on the niceties of passion and withdrawal, the semiotics of gesture, the significant silence or the burst of doubled speech. She can speak to no one of her feelings, not even Lady Anne Russell. The reader is therefore placed in a peculiarly tender relation to Anne as the only other inhabitant of her commonwealth'. Jane Austen was a moralist as well as an entertainer. She could be a harsh judge of the society in which she lived and often in her novels she presents the reader with a carefully considered series of judgements. Her characters are the vessels for conveying these judgements, either dramatically or by Austen's direct comments about them. In Persuasion she offers an obvious comment on the society she inhabited through Sir Walter Elliot, 'Vanity was the beginning and the end of Sir Walter Elliot's character. Vanity of person and of situation'. This comment, is later emphasised by the drama of Sir Walters departure, 'Sir Walter prepared with condescending bows for all the afflicted tenantry and cottagers who might have a hint to shew themselves'. Austen's ironic tone passes a judgement on not only Sir Walter, but all those who posses his qualities of vanity and stupidity, whilst lacking a truly didactic moralising tone. The power of free and direct speech enabled Jane Austen to utilise her satirical piquancy, whilst removing her authorial voice from the narrative. She is ultimately the narrator of the text and Anne is her mouthpiece, however free indirect discourse defines the separation between author and character. How Anne's more rigid requisitions might have taken, is of little consequence. Lady Russell's had no success at all-could not be put up with-were not to be borne. 'What! Every comfort of life knocked off! Journeys, London, servants, horses, table,-contractions and restrictions every where. To live no longer with the decencies of a private gentleman! No, he would sooner quit Kellynch-hall at once, than remain in it on such disgraceful terms'. This report of the persuasion of Sir Walter to rent Kellynch-hall reports actual phrases whilst doing it indirectly, so that the narration combines the voice and moral perspective of the original speaker with that of an external narrator. The words within the quotation marks should be viewed as Sir Walter's, however the syntax of the passage, the use of 'he' in referring to himself show that he is not being quoted directly, rather through the reporting voice of Lady Russell. The use of syntax clouds who is actually reporting, but it is safe to assume that Lady Russell is the reporter as it is she who lacks success and has difficulties with Sir Walter. However, the report is satirical, it is a commentary upon Sir Walter's vanity and Lady Russell throughout Persuasion displays little or no satire in her speech, therefore there is arguably a subtle authorial voice penetrating the text. These instances invite the reader to share the author's point of view through her characters. To present this moral view point on characters, and to show character development over time, the novel needs the fixed point of reference; Jane Austen's authorial voice, and Persuasion's point of reference is Anne. By this Anne is very close to Jane Austen; Austen remains a detached observer of events, but her voice is clearly heard through Anne, who is in turn influenced by events in the narrative. Wayne Booth says in the essay 'Control of Distance in Jane Austen's Emma', In Emma there are many breaks in the point of view because Emma's beclouded mind cannot do the whole job. In Persuasion, where the heroine's viewpoint is faulty only in her ignorance of Captain Wentworth's love, there are very few. Anne Elliot's consciousness is sufficient, as Emma's is not, for most of the needs of the novel which she dominates. Where Anne's viewpoint is not sufficient Jane Austen takes over, but arguably Jane Austen has not succeeded in keeping viewpoints separate. She often uses Anne as a mouthpiece for her own views, blurring the distinction between the authorial voice and character's viewpoint, and making Anne a less well-defined character than her other heroines. The story is told largely as seen by Anne; her observations and reflections provide the serious elements of the novel, and Jane Austen prompts us to sympathise with Anne and accept her moral standpoint right from the start. In Moll Flanders, Defoe utilises a first person narrative. We see the events of the narrative through the eyes of his protagonist Moll Flanders. Subsequently, the reader only sees what the narrator wants us to see. This point of view is arguably limited in its scope, as character development and plot development is entirely dependant upon the narrator and how much of their story they are willing to reveal. Moll Flanders controls the story and therefore controls the reader. As a result of this narrative form, the reader views Moll's life as a series of episiodes, episodes that excite and amuse Moll. This novel barely moves beyond the realm of the picaresque novel, Moll assuming the role of the 'loveable rogue', relating her journey into and out of trouble. This is not to criticise Defoe however, as the point of view benefits the story he is telling, the reader lives the life of Moll, there is sympathy for her and her plight and the reader wishes to learn more of Moll's life. Jane Austen uses a different approach to narrative. Her use of free indirect discourse was not only revolutionary in terms of writing text, but also in informing the reader and how a reader would approach and dissect the meaning of a narrative. Austen is able to create a moral message in her texts without ever sermonising or taking on a didactic tone. Instead the reader enjoys a satirical ironic narrative through the eye's of it's protagonist Anne Elliot. Through Anne, we learn of Austen's dislike for vanity and certain elements of the society she lived in. Both novels deploy different forms of point of view and there is a strong sense in both to entertain, rather than to preach. Whilst entertaining however....................... - Moll Flanders, Daniel Defoe, (Penguin Classics, London, 1989) Page no.? - Moll Flanders, Daniel Defoe, (Penguin Classics, London, 1989) Page no.? - Conscious Artistry in Moll Flanders, Robert R. Columbus., (Jstor). Page no.? - Moll Flanders, Daniel Defoe, (Penguin Classics, London, 1989) Page no.? - Walter Scott- - Norman Page- - Persuasion, Jane Austen, ed Gillian Beer (Penguin Classics, London,1998) pg xxiii - Persuasion, Jane Austen, ed Gillian Beer (Penguin Classics, London,1998) pg xxiii - Persuasion, Jane Austen, ed Gillian Beer (Penguin Classics, London,1998)pg - 'Control of Distance in Jane Austen's Emma', Wayne Booth page no.? Cite This Work To export a reference to this article please select a referencing stye below: Related ServicesView all DMCA / Removal Request If you are the original writer of this essay and no longer wish to have your work published on UKEssays.com then please:

<urn:uuid:7da0af1c-1d59-498a-a04c-642ebaa24b92>

CC-MAIN-2023-40

https://us.ukessays.com/essays/english-literature/point-of-view.php

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510130.53/warc/CC-MAIN-20230926011608-20230926041608-00396.warc.gz

en

Welcome to the educational program Guidelines for Improving Communication. This program will help you to understand the changes in communication associated with Alzheimer’s disease, why good communication skills are critical for good caregiving, how to use these principles and strategies for improving communication with someone with dementia, and how to create environments that help communication. . . . We hope that you enjoy this program and find it useful in helping both yourself and those you care for. There are no easy answers when it comes to the care of another, as every situation and person is different. In addition, every caregiver comes with different experiences, skills and attitudes about caregiving. Our hope is to offer you useful information and guidelines for caring for someone with dementia, but these guidelines will need to be adjusted to suit your own individual needs. Remember that your life experiences, your compassion and your inventiveness will go a long way toward enabling you to provide quality care. Let’s get started. Prefer to listen to this lesson instead? Click the Play button below to begin. For those with Alzheimer’s disease, the capacity to understand language and to express thoughts, emotions and needs becomes more difficult as the disease progresses. They may not be able to understand what you are saying or only be able to grasp part of it. They may have difficulty finding a word and say a related word instead of the one that is forgotten. They may even talk fluently but not make any sense, or repeat the same phrase or word without meaning or purpose. They also lose their reading and writing skills. Because of memory loss, those with dementia may not be able to talk about recent events or people they have recently met. Distant memories typically remain intact until the later stages, but eventually, even old memories and family members may be forgotten. Therefore it may be difficult for them to respond to questions such as, who is this, where are you, or what did you do last week? Lastly, they lose conversational social skills and so may respond inappropriately by interrupting or ignoring other speakers. Goals of Communication Let’s discuss why good communication skills are important by reviewing the goals of communicating with those with dementia. One goal is to assist the individuals with functioning and performing activities of daily living, such as bathing, dressing, and eating. A second goal is to gather information about their needs or wants. Caregivers must know the individuals well and be very perceptive and patient with their attempts to communicate. It is also important to monitor how they are feeling and check for any pain or discomfort. Caregivers should also try to protect those with dementia and provide them with support. When someone feels confused or overwhelmed, the caregiver may have to help that person to understand what’s going on. This can be done by simplifying things and providing information so that the individual can respond appropriately. Or some situations may require that the caregiver speak on someone’s behalf based on what that person most likely would have wanted to say. Another important job for caregivers is to help people with dementia remain connected to the world. Without caregivers who can provide links to the world, those with dementia can eventually lose connections to their environment, their past, their friends and family, and even their own sense of self. Principles of Good Communication Good communication skills are based upon some basic principles of communication. The first principle is to show respect. You can do this by addressing individuals by their preferred names and/or titles and by using good manners. People learn about good versus bad manners in early childhood and those memories tend to persist into the later stages of dementia. Therefore people with dementia can usually appreciate good manners, so try to say please and thank you, as you would when speaking to anyone else. Do not talk down to those with dementia or treat them like children. Instead, keep the conversation simple, but at an adult level. Avoid using eldertalk, which is similar to baby talk or the use of a high pitched, sing-song tone of voice. inviting individuals to participate in something rather than demanding that they do it. In addition, if individuals with dementia are in the room, do not discuss them with others as if they are not present, even if you think they do not understand. In conversation, it’s best to avoid topics that you know can trigger difficult behaviors. If the topic is unavoidable, try approaching it in different ways or in different settings that may be more relaxing. Be sensitive to the early signs of agitation and difficult behaviors. This includes paying attention to people’s feelings and emotions rather than their words. There may be signs in their body language or mannerisms that may immediately precede problem behaviors. If you see the early signs, try to back off or divert their attention onto another subject. Keep in mind that words are not the only form of communication. It is very important to effectively use non-verbal forms of communication, such as facial expressions, tone of voice and body language to convey how you feel. This is especially important when someone is having difficulty understanding the conversation. A smile, a gentle touch and a kind voice can express so much more than words. Caregiver’s Attitude and Approach First, have a good sense of humor. Laughter is a great way to overcome a difficult situation or distract someone from negative thoughts or behaviors. Smiling and laughing will also help everyone feel better. Keep and show a positive attitude. Try to focus on the positives, and pose things in a positive way. Show a positive attitude in your facial expressions, body language, and tone of voice, as your emotional tone can convey more meaning than the actual words you use. Approach caregiving as a collaborative effort between the caregiver and the care recipient. Communicate as if everyone is an important member of a team. Everyone likes to feel important and needed. So treat those with dementia as if they can make valued contributions. Let them know that their remaining abilities are useful and appreciated. Try to encourage and help them to contribute. For example, if you ask someone to participate in an activity, such as folding laundry, communicate the request in such a way that the person’s participation is of value. “ I could really use your help with the laundry. You always do such a nice job with folding the clothes!” When challenges arise, try to find productive solutions that involve the whole team, including the person with dementia. Use a non-judgmental approach. Try not to judge or blame the person for negative behaviors and challenging situations. Remember that the disease is causing the change in personality and loss of abilities. Remain open-minded and learn about cultural differences that may affect communication, such as language, symbols, and physical contact. Lastly, give priority to the person’s wants or needs. Case Study 1 Let’s begin with a case study about communication issues between Robert and Sally, Robert’s caregiver during the day when his wife is not home.Why did Robert fail to follow Sally’s instructions? - A. Sally did not get Robert’s attention before starting to speak. - B. Sally assumed that Robert knew where the bathroom was. - C. Sally gave too many instructions at once. - D. Sally left without seeing if Robert understood the instructions or needed assistance. - E. All of the above. Case Study 1 Answers: Choice A: “Sally did not get Robert’s attention before starting to speak” is an excellent choice. Although the Sally addressed Robert politely and used his proper name, she should not have assumed that the person was paying attention and listening. Communication requires that the individuals pay attention to one another. The caregiver should always make a conscious effort to get the person’s attention. Aging can also reduce the sense of hearing, so getting someone’s attention before speaking is very important. Choice B: “Sally assumed that Robert knew where the bathroom was” is also a great choice. Dementia can affect people’s navigating abilities and their orientation. Even if Robert has been to the bathroom a thousand times, he may not be able to remember where it is. Do not assume that someone with dementia remembers things, as memory can fluctuate from day to day. Choice C: “Sally gave too many instructions at once” is a very good answer. Dementia can limit the ability to process information, so handling multiple instructions or trying to decide among multiple choices can be very confusing. Giving multiple instructions at one time can reduce the chances of having any of them followed. To help prevent this from happening, give instructions using simple sentences with no more than one or two directions at a time. Choice D: “Sally left without seeing if Robert understood the instructions or needed assistance” is another excellent answer. Part of good communication includes checking to make sure that the person understands what you say and is able to follow your instructions. Choice E: Because Choices A through D are all good answers, Choice E, “all of the above,” is the best answer. Guidelines for Better Communication Here are some guidelines and tips for improving communication. First, make sure that the person is paying attention to you. To get someone’s full attention, face the person and maintain eye contact while speaking and when listening. When communicating, always try to be at eye level with the other person rather than standing above them. If the person is standing, you should be standing. If they are sitting, you should be sitting. And stay in one place, so that the person is not distracted by trying to follow your movements. Watch as well as listen. People with dementia sometimes pretend to understand in order to hide their confusion. Even if they say that they understand what is being said, watch to see if what they do demonstrates understanding. Remember that good communication is a two-way exchange. Speak slowly and clearly with a pleasant tone of voice. Your tone of voice and emotional tone can convey more than words, particularly during the later stages of the disease when verbal understanding may be limited. Use body language such as facial expressions, pictures, and gestures to convey your message. If people are having difficulty holding up their part of the conversation, try to help them to participate. Try to help find the words that they may be having a hard time remembering. Or ask them to explain in a different way. Offer clues about how they can answer questions if necessary. Demonstrating, pointing, showing, and touching objects and pictures may help with memory and understanding. Orient the person by combining both verbal and physical cues about who, what, when, where, and why into your conversation. Show the person where to find things, such as the bathroom or household objects. Use body language and verbal cues to help the person focus on the conversation. You can make this into a fun shared activity. Guidelines for Better Communication (Continued) Try to avoid topics or phrases that point out the person’s memory problems, such as, “remember when?” Remember that memory can fluctuate from day to day and even moment to moment. Try talking about events that are likely to be remembered, such as more distant memories, or everyday things like the weather. Another way to help the person remember things is not to rush while communicating. Allow plenty of time for the other person to comprehend and respond. You should also avoid pointing out errors, arguing, criticizing, scolding, or embarrassing the person. Trying to reason with someone with dementia is often frustrating and pointless, especially in the later stages of the disease. Offer reassurance rather than correcting them. Another good idea is to focus on one topic at a time by providing continuity. This is achieved by staying on the same topic without changing focus too often. If the topic needs to be changed, provide direction to the new topic. In general, keep sentences short, simple and direct. If the person is having trouble understanding you, try using easier words and concepts. Use nouns and names rather than using “he “ or “she.” For example say, ‘Your daughter, Nancy, is coming for a visit,’ rather than, ‘She is coming for a visit.’ You should use the most important word last when speaking since people tend to remember the last word best. Lastly, use empathy and validation to focus on the person’s feelings. If the person is frustrated, upset, or sad, use phrases such as, “I understand you are upset,” or, “I’m sorry you are feeling sad,” to provide comfort rather than criticizing or dismissing the feelings. Carefully observe the emotions, behaviors, and the environment to reflect back to the person what you believe is going on. This lets others know that you care about their feelings. Case Study 2 Effective Communication Skills Let’s look at some of the effective communication skills that Sally, used. First, she slowly approached Robert and called him by his preferred name, Dr. Jones. Caregivers should know how individuals prefer to be addressed. Next, she stated what she believed Robert was trying to communicate. She saw that Robert wanted to go out and heard that he needed to go to the office. Sally tried to make it clear that she understood by saying: “I understand that you want to go to your office to work.” This is called rephrasing, which lets others know that you have understood what you have heard and seen, and validates the speaker and the message. Knowing about the person’s personal history can help the caregiver better understand what the person is trying to express. Asking questions such as “who, what, where, when, or how” are good in appropriate situations. It is best to avoid using “why” questions, as they can come across as being critical of the person’s behavior. Be aware that in the middle and late stages of dementia, people may have difficulty answering too many questions. Sally then restated Robert’s words back to him by saying, “But the door is locked.” This strategy is called reflecting, which lets the person know that you are paying attention and acknowledging their words. Sally also acknowledged the emotional expressions on Robert’s face and his body language by stating that he looked worried. This is called matching the emotions with words. Additionally, she displayed reinforcing behaviors with her smiles and gentle touch. Lastly, she used a strategy called reminiscing, which redirected or distracted Robert and helped to reduce his distress by asking questions about something that he would remember from his past, such as his office. In order to increase the likelihood of successfully completing an activity, it is important to give clear, easy instructions and to simplify tasks. When giving instructions, break down the activity into one or two simple steps at a time. As the disease progresses, you should break down activities into smaller, simpler parts. Focus first on familiar tasks and then encourage the person to practice new skills by giving specific, simple instructions in a pleasant voice. For example, rather than telling someone to get dressed, ask the person to put on a shirt. After that is done, ask the person to put on pants, and so on with each article of clothing. Be positive and supportive by paying attention and being there to help when needed. You may have to demonstrate steps for people, or assist them in what steps you need them to do, but don’t ever force a step. A good way to keep steps moving along is through the use of chaining, or linking activities together so that one action prompts the next action. One way to chain is to break tasks into a sequence of actions that lead to task completion, treating each action in the sequence as an independent activity and assisting the person in performing each activity. For example breaking down getting dressed by each article of clothing. Another way to chain is to put sets of related tasks together to provide a regular, consistent situation. For example, washing hands before a meal. If coaching is needed, try gentle hand-over-hand guidance, which involves putting your hand over the person’s hand to guide them as you complete an activity together. You can also use cuing and prompting to help the person recall the needed behavior. Cuing involves giving a verbal or non-verbal clue for doing an activity. An example of cueing would be to place a spoon in the person’s hand to cue that person to eat. When asking questions, keep in mind that some types of questions are easier to manage for persons with dementia than others. First, try to ask easy questions that require yes or no responses. If there are choices involved, limit the number of choices to two or three if possible, presenting one option at a time. If the person has significant memory loss, try to provide information rather than asking for it, as asking too many questions may set them up for failure. It is also best to avoid using why questions, because they often come across as being critical of the person’s behavior. When asking about the person’s well-being, whether it be physical, mental, or emotional, try using the unfolding technique. To use the unfolding technique, start by asking the person whether they have a particular symptom or feeling. If the person answers “no,” then ask about another symptom or feeling. If the person answers “yes,” then ask about the frequency and severity of the symptom. For example, first ask the person, “Have you been feeling anxious? If the answer is “yes,” then ask the person to estimate how intense the anxiousness feels. Then ask how often the person feels anxious. After you have “unfolded” a clear picture about a particular symptom, move onto another symptom, such as pain. This manner of asking questions allows you to gather information in an efficient manner. Creating a Communication-Friendly Environment Visual changes can impair communication. The visual changes associated with aging can cause difficulty with seeing details, such as facial expressions, reading small print, distinguishing colors, accommodating to lighting changes, and seeing in glare or backlighting. These difficulties often lead to the misinterpretation of the visual environment. Some strategies for improving communication with those with visual problems include reducing the glare from lights and providing extra light on detailed tasks. Try to use stark color contrasts. Also, try to avoid standing in backlighting or in shadows when you are talking to someone, making sure that your face is easy to see and that you are directly facing the person. Provide handheld magnification and eyeglasses if necessary, and make sure that they are clean and free of smudges. Eyeglasses should have a proper fit and be placed on the face correctly. Remember that following instructions may take longer, so allow for plenty of time with everything. The visually impaired also need extra time to adjust to changes in lighting, so if you are going to turn a light on or off, tell the person before you do so, and provide time to adjust to the change. Communicating with the Hearing-Impaired Hearing changes associated with aging often occur gradually and can cause difficulties with communication. Hearing loss can also reduce a person’s physical, functional, emotional, and social well-being. Some strategies for communicating with the hearing-impaired include making sure that you have the person’s full attention before speaking. A gentle touch to the arm works nicely. Also, make sure that you are directly facing the person and not standing behind them, or covering your mouth when speaking. Make sure to lower your voice pitch and speak slowly and distinctly. Never shout at the person, as it does not help them to understand and may even cause them to become agitated. In addition, shouting increases the pitch of the voice, which actually makes it more difficult to understand. Reduce or remove any background noises and distractions and make sure that any hearing aids are properly working. This includes checking the batteries and the sound level. Make use of non-verbal body language like gestures and facial expressions to help convey meaning. Lastly, match the content of your message to the environment in which you deliver the message. For example, you should ask whether the person has had a bowel movement while you are both in the bathroom, but not while in the dining room. . . . Written by: Linda R. Phillips, R.N., Ph.D., F.A.A.N. (UCLA School of Nursing) Edited by: Mindy J. Kim-Miller, MD, PhD (University of Chicago School of Medicine) - Bates, J., Boote, J. & Beverley, C.A. (2003). Psychosocial interventions for people with milder dementing illness: A systematic review. Journal of Advanced Nursing, 45 (6), 644-658. - Bayles, K. (2003). Effects of working memory deficits on the communicative functioning of Alzheimer’s dementia patients. Journal of Communication Disorders, 36 (2003), 209-219. - Bayles, K.A., Tomoeda, C.K., Cruz, R.F. & Mahendra, N. (2000). Communication abilities of individuals with late-stage Alzheimer Disease. Alzheimer Disease and Associated Disorders, 14 (3), 176-181. - Bethea, L.S., Travis, S.S., & Pecchioni, L. (2000). Family caregivers’ use of humor in conveying information about caring for dependent older adults. Health Communication, 12 (4), 361-376. - Broton, M., & Koger, S.M. (2000). The impact of music therapy on language functioning in dementia. Journal of Music Therapy Association, 37 (3), 183-195. - Chalmers, J. (2000). Behavior management and communication strategies for dental professionals when caring for patients with dementia. Special Care in Dentistry, 20 (4), 147-154. - Ekman, S., Norberg, A., Viitanen, M. & Winblad, B. (1991). Care of demented patients with severe communication problems. Scandinavian Journal of Caring Science, 5 (3), 163-170. - Ekman, S., Wahlin, T., Biitanen, M., Norberg, A., & Wiknblad, B. (1994). Preconditions for communication in the care of bilingual demented persons. International Psychogeriatrics, 6 (1), 105-120. - Epps, C.D. (2001). Recognizing pain in the institutionalized elder with dementia. Geriatric Nursing, 22 (2), 71-77. - Gerdner, L.A., Josefsson, K., & Kihlgren, M. (1998). Probable reasons for expressed agitation in persons with dementia. Clinical Nursing Research. 7 (2), 189-200). - Gotell, E., Brown, S., & Ekman, S. (2002). Caregiver singing and background music in dementia care. Western Journal of Nursing Research, 24 (2), 195-216. - Gleeson, M. & Timmins, F. (2004). Touch: a fundamental aspect of communication with older people experiencing dementia. Nursing Older People 16 (2), 18-21. - Hadjistavropoulos, T. & Craig, K.D. (2002). A theoretical framework for understanding self-report and observational measures of pain. Behaviour Research and Therapy, 40, (2002), 551-570. - Hansebo, G. & Kihlgren, M. (2002). Carers’ interactions with patients suffering from severe dementia: a difficult balance to facilitate mutual togetherness. Journal of Clinical Nursing, 11, 225-236. - Holm, A., Lepp, M., & Ringsberg, K. (2005). Dementia: involving patients in storytelling—a caring intervention. Journal of Clinical Nursing, 14, 256-263. - Kim, W.J., & Buschmann, M.T. (1999). The effect of expressive physical touch on patients with dementia. International Journal Nursing Studies, 36 (1999), 235-243. - Maas, M.L., Reed, D., Park, M., Specht, J.P., Schutte, D., Kelley, L.S., Swanson, E.A., Trip-Reimer, T. & Buckwalter, K.C. (2004). Outcomes of family involvement in care intervention for caregivers of individuals with dementia. Nursing Research, 53 (2), 76-86. - Mahendra, N. & Arkin, S. (2003). Effects of four years of exercise, language and, social interventions on Alzheimer discourse. Journal of Communication Disorders, 36 (2003), 395-422. - Mayhew, P. A., Acton, G.J., Yauk, S., & Hopkins, B. A. (2001). Communication from individuals with advanced DAT: Can it provide clues to their sense of self-awareness and well-being. Geriatric Nursing, 22 (2), 106-110. - Moore, T. & Hollet, J. (2003). Giving voice to persons living with dementia: The researcher’s opportunities and challenges. Nursing Science Quarterly, 16 (2), 163-167. - Murray, L.L., Dickerson, S., Lichtenberger, B., & Cox, C. (2003). Effects of toy stimulation on the cognitive, communicative and emotional functioning of adults in the middle stages of Alzheimer’s disease. Journal of Communication Disorders, 36 (2003), 101-127. - Normann, H, K., Norberg, A.& Asplund, K. (2002). Confirmation and lucidity during conversations with a woman with severe dementia. Journal of Advanced Nursing, 39 (4), 370-376. - O’Donovan, S. (1996). A validation approach to severely demented clients. Nursing Standard. 11 (13-15), 48-52. - Packer, T. (1999). Dementia Part 3: communication. Professional Nurse, 14, (10), 727-730. - Reese, D. (December, 1998). Through their eyes. Contemporary Long Term Care, pp. 44-52. - Ripich, D. (1994). Functional communication with AD patients: A caregiver training program. Alzheimer Disease and Associated Disorders, 8 (Supplement 3), 95,109. - Roudier, M., Marcie, P., Grancher, A-S., Tzortzis, C., Starkstein, S., & Boller, F. (1998). Discrimination of facial identity and of emotions in Alzheimer’s disease. Journal of Neurological Sciences, 154 (1998), 151-158. - Runqvist, E.,& Severinsoon, W. (1999). Caring relationships with patients suffering from dementia—an interview study. Journal of Advanced Nursing. 29 (4), 800-807. - Savenstedt, S., Brulin, C., & Sandman, P-O. (2003). Family members’ narrated experiences of communicating via video-phone with patients with dementia staying at a nursing home. Journal of Telemedicine and Telecare, 9, 216-220. - Silvestri, A., Rosano, G., Zannino, G., Ricca, F., Marigliano, V., & Fini, M. (2004). Behavioral Disturbances in Alzheimer’s Disease: A nonpharmacological. - therapeutic approach. Archives of Gerontology, Geriatric Supplement 9, 279-286. - Smith, J. (2001). Communication and dementia. Nursing Older People. 12 (10), 14-15. - Sutor, B., Rummans, T.A., & Smith, G.E. (2001). Assessment and management of behavioral disturbances in nursing home patients with dementia. Mayo Foundation for Medical Education and Research, 76 (5), 540-550. - Tappen, R.M., Williams-Burgess, C., Edelstein, J., Touhy, T., & Fishman, S. (1997). Communicating with individuals with Alzheimer’s disease: Examination of recommended strategies. Archives of Psychiatric Nursing, 11 (5), 249-256.

<urn:uuid:7cc236cd-e661-4ca5-b83f-72068df838e5>

CC-MAIN-2023-40

https://ararf.org/lesson/guidelines-improving-communication/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510085.26/warc/CC-MAIN-20230925183615-20230925213615-00193.warc.gz

en

Ultimate Guide to Play-Based English Learning in the Home Literacy Environment (HLE) There’s two Play-Based English Learning articles for this. Click here for the first article. The first article investigates the concept of the Home Literacy Environment (HLE) for English Learning and its impact on a child’s literacy development, specifically focusing on children at high risk of dyslexia. HLE, which includes activities like reading storybooks and teaching letter-sound relationships, plays a significant role in fostering early literacy skills. The study highlighted the role of socioeconomic status and parental literacy instruction in HLE, indicating that while there are differences in storybook exposure between risk groups, these are largely accounted for by socioeconomic differences. However, other factors like parental education and sibling presence also play a role. Direct parental literacy instruction didn’t show significant differences between the family-risk and control groups, suggesting that cultural and other factors, such as the school-starting age, may influence these results. The second article explores the concept of Play-Based English English Learning in the HLE. This strategy leverages games, role-play, storytelling, and other interactive activities to help children acquire English language skills. The guide emphasizes the benefits of play-based learning in enhancing language skills, building vocabulary, encouraging creative thinking, and developing social and emotional skills. Parents and caregivers play a crucial role in facilitating play-based learning by creating an enriched environment, engaging in role-playing activities, storytelling and reading play, and game-based learning. Despite possible challenges, play-based learning can effectively foster English language acquisition in a fun and engaging manner. Back to our main article: English Primary Overview Play-Based English Learning in the Home Literacy Environment (HLE) is a transformative approach that harnesses the power of play to facilitate English language acquisition in young learners. At its core, play-based learning emphasizes the use of playful activities as a medium for learning. Unlike traditional, structured educational methods, it allows children to learn at their own pace, explore their interests, and develop a wide range of skills in an enjoyable and low-stress environment. The importance of Play-Based English Learning in the HLE cannot be overstated. The HLE, characterized by the range of literacy experiences that children encounter at home, plays a crucial role in early childhood development. It is the first educational setting that children are exposed to, and the quality of this environment can have long-lasting effects on a child’s cognitive, social, and emotional development. When play-based learning is incorporated into the HLE, it can significantly enhance these developmental outcomes. The role of Play-Based English Learning in the HLE in English language acquisition is particularly noteworthy. English, being a global language, is an essential skill for children to learn. However, traditional teaching methods can often make the learning process feel tedious and intimidating for young learners. In contrast, play-based learning transforms English language learning into an enjoyable and engaging experience. Through play, children can naturally acquire language skills as they interact with their environment, their peers, and their caregivers. For instance, through role-playing games, children can practice English vocabulary and sentence construction in a fun and relaxed setting. Storytelling and reading plays not only enhance children’s listening and comprehension skills but also stimulate their creativity and imagination. Similarly, game-based learning activities, such as English language board games or interactive online games, can make the learning process more engaging and interactive. In essence, Play-Based English Learning in the Home Literacy Environment (HLE) leverages the inherent curiosity and playfulness of children to facilitate English language acquisition. It transforms the home into a dynamic learning environment where children can explore, experiment, and learn at their own pace, all while having fun. It’s a holistic approach that not only enhances children’s language skills but also fosters their creativity, critical thinking, and love for learning. II. Benefits of Play-Based English Learning in HLE Play-Based English Learning in the Home Literacy Environment (HLE) offers a multitude of benefits that extend beyond mere language acquisition. It creates a holistic learning experience that nurtures not just cognitive but also social and emotional development, shaping well-rounded individuals who are ready to take on the world. One of the primary benefits of Play-Based English Learning in the HLE is its remarkable ability to enhance language skills. Through play, children are exposed to a rich variety of language experiences. They listen to instructions, negotiate roles, ask questions, and express ideas, all of which require the use of language. These authentic interactions in English stimulate the development of speaking, listening, reading, and writing skills, laying a solid foundation for future language learning. A second critical benefit is the building of vocabulary. In a play-based English learning environment, children encounter new words in context, which significantly aids in understanding and retention. For instance, a child playing a grocery store game will learn and remember words such as ‘cart,’ ‘checkout,’ ‘cashier,’ etc., because these words have been used in a meaningful and purposeful context. This exposure to a wide array of vocabulary within context facilitates language comprehension and expression. Encouraging creative thinking is another significant benefit of Play-Based English Learning in the HLE. Play provides opportunities for children to imagine, innovate, and problem-solve. When children play ‘pretend’ games in English, they create scenarios, invent characters, and build narratives. This requires them to use language creatively to express their unique ideas and stories. By exercising their creative thinking skills in this manner, children develop a flexible and imaginative approach towards language use, which is crucial for effective communication. Lastly, but certainly not least, Play-Based English Learning in the Home Literacy Environment (HLE) plays a crucial role in developing social and emotional skills. Play-based activities often require children to cooperate, negotiate, take turns, and manage conflicts, which are vital for social interaction. By engaging in these activities in English, children learn to communicate their feelings and needs effectively. Moreover, through play, children experience a range of emotions, which helps them understand and manage their own feelings as well as empathize with others. In conclusion, Play-Based English Learning in the HLE is an effective and engaging approach to English language learning. By enhancing language skills, building vocabulary, encouraging creative thinking, and developing social and emotional skills, it ensures that children are not just linguistically competent but also socially and emotionally adept. III. Incorporating Play-Based Learning into the HLE Incorporating Play-Based English Learning into the Home Literacy Environment (HLE) necessitates thoughtful planning and preparation. By creating an enriched environment and engaging in role-playing activities, storytelling, and reading play, as well as game-based learning, parents and caregivers can establish a dynamic, stimulating, and playful HLE. Creating an enriched environment is the first step towards facilitating Play-Based English Learning in the HLE. The environment should be safe and inviting, filled with a variety of age-appropriate and engaging materials that stimulate curiosity and imagination. Books, toys, art supplies, and everyday objects can be used to create a diverse learning environment. Labeling household items in English, displaying English alphabet and number charts, and having English storybooks and comics easily accessible can effectively immerse children in the language. Role-playing activities form a significant part of Play-Based English Learning. Children love to play pretend, and such activities provide an excellent platform for practicing English. Parents and caregivers can engage children in role-plays that mirror real-life scenarios, such as playing store, running a restaurant, or going to the doctor. These role-plays involve the use of language relevant to the situation, thereby allowing children to learn and use English vocabulary in a context that is meaningful to them. Storytelling and reading play are also powerful ways to incorporate Play-Based English Learning into the HLE. Reading English storybooks to children exposes them to a rich array of vocabulary and complex sentence structures, enhancing their language skills. Storytelling, on the other hand, encourages children to use their imagination and creativity to express ideas in English. Parents can further enhance the playful aspect of storytelling by incorporating props, puppets, or even acting out the story. Lastly, game-based learning plays a vital role in Play-Based English Learning. Games, whether they are board games, card games, or digital games, captivate children’s interest and make learning fun. English language games such as ‘I spy,’ ‘Simon says,’ and word bingo, among others, can effectively teach children new vocabulary, sentence structures, and language usage rules. Additionally, playing games in English encourages children to communicate in the language, reinforcing their speaking and listening skills. - Storytelling and Reading Play: Read aloud English storybooks, picture books, and children’s novels. After reading, ask children to act out the story or retell it in their own words. - Role-Playing Activities: Create scenarios where children can act out different roles using English. This can be based on daily life activities, such as going to the supermarket, or fantastical scenarios, like being in a spaceship. - Word Games: Play English word games such as Scrabble, hangman, or word search puzzles. These games can help enhance vocabulary and spelling skills. - Rhyme and Sing-Along Activities: Sing English nursery rhymes or songs with children. This not only makes learning fun but also helps in phonetic understanding. - Puppet Shows: Use puppets to tell stories, where the children can join in and contribute to the narrative using English. - Picture Drawing and Description: Have children draw a picture and then describe what they’ve drawn in English. - Letter and Word Building Blocks: Use alphabet blocks or magnetic letters to create words and sentences. This can be made into a game where children have to form as many words as they can in a set amount of time. - Board Games: Use English language-based board games like Pictionary, Charades, or Trivial Pursuit Junior Edition. - Flashcard Games: Use flashcards with words, pictures, or phrases for games like Memory Match, or create a treasure hunt using flashcards with clues in English. - Interactive Online Games: There are many English learning apps and websites that offer interactive games to learn vocabulary, grammar, and other language skills. - Dramatization: Encourage children to create and perform their own plays in English. - Movie Time: Watch English movies or cartoons with subtitles. Discuss the plot, characters, and any new words or phrases after watching. - Jigsaw Puzzles: Use English word or sentence puzzles. As your child completes the puzzle, they will be learning new words and sentences. - Show and Tell: Encourage your child to show and tell about their favorite toy or book in English. - Creating a Picture Book: Have your child create their own picture book with English captions and descriptions. As such, incorporating Play-Based English Learning into the Home Literacy Environment (HLE) is a holistic approach to language learning that caters to children’s natural affinity for play. By creating an enriched environment, engaging in role-playing activities, storytelling and reading play, and game-based learning, parents and caregivers can provide children with a fun, engaging, and effective English learning experience right in the comfort of their home. IV. Role of Parents and Caregivers in Play-Based English Learning The role of parents and caregivers in Play-Based English Learning in the Home Literacy Environment (HLE) is both profound and multi-faceted. By facilitating play-based learning, employing strategies for engaging in play-based activities, and balancing play with formal learning, they can create an environment conducive to English language acquisition. Facilitating play-based learning involves providing materials and opportunities for play, setting the stage for the activity, and then stepping back to allow the child to explore, create, and learn at their own pace. This does not mean leaving the child completely alone; rather, it involves being available to support and guide the child when needed. In the context of English language learning, this may involve providing English language toys, books, and games, and creating scenarios where the child is encouraged to use English. Strategies for engaging in play-based activities include being attentive to the child’s interests, following their lead, and taking on a supportive rather than directive role. For instance, if a child shows interest in playing with dolls, parents can join in the play and introduce English vocabulary related to the play scenario. It’s important to use language that is just slightly beyond the child’s current level, so they are learning new words and structures, but the language is still comprehensible. Open-ended questions can be used to stimulate conversation and thinking. Furthermore, parents and caregivers can model correct English usage without directly correcting the child, thus creating a low-pressure environment for language learning. The balance between play and formal learning is critical in the HLE. While play-based learning is essential for young children’s development and can be highly effective for language learning, it does not replace the need for more structured learning activities, especially as the child gets older. Parents and caregivers should aim to create a balanced schedule that includes both types of learning. For instance, a day might include periods of free play, shared reading of an English storybook, a fun English language game, and a more structured English lesson. Hence, parents and caregivers play a crucial role in Play-Based English Learning in the Home Literacy Environment. By facilitating play-based learning, engaging in play-based activities in a supportive and responsive manner, and maintaining a balance between play and formal learning, they can create a rich, varied, and effective learning environment that fosters English language acquisition. VI. Challenges and Solutions in Implementing Play-Based English Learning in HLE Implementing Play-Based English Learning in the Home Literacy Environment (HLE) can bring about its own set of challenges, but these can be addressed effectively. Parents and caregivers often grapple with concerns about the process and have questions about the effectiveness of play-based learning. Addressing these concerns and ensuring the effectiveness of play-based learning is essential to the successful adoption of this approach. Some materials to help parents can be found here. Common concerns about play-based learning in the HLE often revolve around the perception that play is not serious or productive. Some parents worry that play-based learning is too unstructured or that it does not deliver measurable results. Others might be unsure about how to incorporate English language learning into play effectively, or they might feel ill-equipped to facilitate play-based learning due to a lack of resources or knowledge. Addressing these concerns involves promoting a broader understanding of the role of play in children’s learning and development. Play is a natural mode of learning for young children; it is how they make sense of the world, develop skills, and acquire knowledge. Play-based learning, when implemented effectively, can enhance motivation, engagement, and learning outcomes. Moreover, play can be structured in ways that promote specific learning goals, including English language acquisition. Ensuring the effectiveness of play-based English learning in the HLE involves several key elements. First, the play activities need to be age-appropriate and matched to the child’s developmental level. This ensures that the child is capable of engaging in the activity and that it presents a manageable challenge. Second, the play activities should be meaningful and relevant to the child’s life and interests. This boosts engagement and makes the learning more impactful. For instance, a child who loves animals might enjoy a play-based activity where they pretend to be a zookeeper, learning and using English words for different animals and their care. Third, parents and caregivers need to be involved in the play to some extent. This might involve setting up the play scenario, participating in the play, or providing support and scaffolding as needed. Their involvement can help guide the child’s learning, introduce new vocabulary and language structures, and model correct language use. Fourth, there needs to be a balance between play-based learning and more formal learning activities. While play can be a powerful tool for language learning, it does not replace the need for explicit instruction, especially for certain aspects of language such as grammar rules or phonics. Lastly, regular reflection and adjustment based on the child’s progress and changing needs can help maintain the effectiveness of the play-based approach. This involves observing the child during play, noting their language use, identifying areas of strength and difficulty, and adjusting the play activities or the level of support provided accordingly. While there are challenges in implementing Play-Based English Learning in the HLE, these can be addressed through understanding the role of play in learning, ensuring the appropriateness and relevance of play activities, involving parents and caregivers in the play, balancing play and formal learning, and regularly reflecting and adjusting the approach based on the child’s progress. As we draw the discussion to a close, it is essential to recap the significant role of play-based learning in the Home Literacy Environment (HLE), particularly in the context of English language acquisition. Not only does this approach offer an engaging and natural way for children to learn, but it also brings numerous benefits, including enhanced language skills, expanded vocabulary, improved creative thinking, and developed social and emotional skills. Play-based learning in the HLE taps into children’s innate curiosity and desire to explore, creating an engaging and motivating environment for language learning. It presents opportunities for children to hear and use English in meaningful, real-life contexts, which boosts their understanding and use of the language. Through activities such as role-playing, storytelling, and game-based learning, children can gain exposure to a rich array of vocabulary, complex sentence structures, and a wide range of topics, which ultimately enhances their English language skills. Moreover, play-based learning supports the holistic development of children. It encourages them to think creatively as they engage in make-believe play or solve problems in games. It also allows them to practice social and emotional skills such as cooperation, negotiation, empathy, and emotional regulation, which are crucial for their overall well-being and success in life. Parents and caregivers play a crucial role in facilitating play-based English learning in the HLE. Their involvement can make the learning more meaningful, support the child’s learning process, and model correct language use. However, they also need to strike a balance between play and more formal learning activities to ensure a well-rounded approach to English language learning. Looking ahead, the future of play-based English learning in the HLE is promising. As our understanding of children’s learning and development continues to grow, so does our recognition of the value of play in the learning process. More resources and strategies are becoming available to support parents and caregivers in implementing play-based learning, and more research is being conducted to further validate and refine this approach. At the same time, there are challenges to be addressed, such as misconceptions about play, concerns about the effectiveness of play-based learning, and barriers to implementing it. Addressing these challenges involves promoting a broader understanding of play’s role in learning, ensuring the appropriateness and relevance of play activities, involving parents and caregivers in the play, balancing play and formal learning, and reflecting and adjusting the approach based on the child’s progress. In conclusion, play-based English learning in the Home Literacy Environment (HLE) is a powerful approach to supporting children’s language development and overall learning. It is a pathway that embraces the joy and power of play, harnesses children’s natural curiosity, and taps into the rich learning opportunities that everyday life presents. As we move forward, let us continue to explore, refine, and advocate for play-based learning as a meaningful and effective way to foster children’s English language skills and love for learning. A Comprehensive Guide for Parents: Play-Based English Learning in the Home Literacy Environment (HLE) English language acquisition is a crucial skill that can significantly contribute to a child’s future academic and professional success. One of the most effective and enjoyable ways to nurture this skill is through play-based learning in the Home Literacy Environment (HLE). Play-based learning involves the use of games, role-play, storytelling, and other fun activities to teach children new concepts and skills. Here’s a comprehensive guide for parents to practice play-based English learning at home. 1. Understanding Play-Based Learning Play-based learning is a method where play is the primary mode of learning. It’s a natural and effective way to engage children in learning activities without them feeling pressured or bored. The key to successful play-based learning is to create a balance between child-led play, where your child’s interests guide the activities, and adult-led play, where you guide the learning objectives. 2. Creating a Playful Learning Environment To foster play-based learning, create an environment at home that encourages creativity, exploration, and fun. This can be as simple as dedicating a corner of the room for play, filled with toys, books, art supplies, and other materials that stimulate your child’s imagination. Make sure the environment is safe and comfortable for your child to play in. 3. Incorporating English in Play The goal is to incorporate English language learning into play naturally. Here are a few ways to do this: - Storytelling and Reading Play: Read English books to your child regularly. Encourage them to tell stories using their toys, fostering their imagination while practicing their English language skills. - Role-Playing Activities: Role-play is a great way to practice English. Create scenarios where your child can use English, such as playing ‘shop’ where they can practice phrases and sentences related to buying and selling. - Game-Based Learning: Games can make learning English more fun and engaging. For example, play ‘I Spy’ to teach your child new vocabulary, or a memory card game to help them remember English words. 4. The Role of Parents in Play-Based Learning As a parent, your role is to facilitate play-based learning. This means providing opportunities for play, guiding the learning process, and providing feedback. Remember, it’s not about ‘teaching’ English in a formal way, but about creating a positive, enjoyable environment where your child can learn English naturally. 5. Balancing Play and Formal Learning While play is a fantastic way to learn, it’s also essential to balance it with more formal learning activities, such as reading books together, learning the alphabet, and practicing writing. This will provide a well-rounded approach to your child’s English language learning. 6. Overcoming Challenges in Play-Based Learning Parents may encounter challenges when implementing play-based learning. You might worry about the effectiveness of this approach or struggle to find the time to play with your child. Remember that even small moments of play can make a big difference, and that play is a natural and effective way for children to learn. Play-based English learning in the Home Literacy Environment (HLE) provides a rewarding and effective way for your child to acquire English language skills. By understanding the principles of play-based learning and implementing the strategies outlined in this guide, you can create a rich, engaging, and beneficial learning experience for your child right in the comfort of your home.

<urn:uuid:c7f27778-744f-4619-96c1-294e360b7011>

CC-MAIN-2023-40

https://edukatesingapore.com/portfolio/play-based-english-learning/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506479.32/warc/CC-MAIN-20230923030601-20230923060601-00297.warc.gz

en

So let's start with the basic premise that there is no such thing as a perfect lesson plan or format. This is simply because there are a variety of different needs in terms of subjects, ages and skill levels. The best lessons are tailored to the needs of their students, so some simple lessons can be myopic. In fact, many of the best moments/lessons I've had in the classroom started with me giving students enough space and freedom to create independently and discuss information freely. However, this does not start with chaos and a strong structure built on strong teaching ideas needs to be in place for this to be successful. And while I'm glad the New York City government can't force teachers to use a specific template, there are certain elements that should be part of every teacher's lesson. So here are the ones I found most important. Many of the elements of a great lesson plan are naturally interrelated and fundamental to its sequencing. Other parts are modifications you can make to improve the effectiveness of a lesson. Some people include a script in their classes, but I don't like that as it can sound unnatural and lock the teacher into a structure that may not suit their students. There are many ways to structure the lessons, which is good as there are many different ways for students to learn something. I've tried correlating names/concepts to know if you followModell 5E, Direct Instruction, Mastery Learning Facilitative Teaching, Cooperative Learning, or something else entirely, you should be able to customize this to suit your needs. - Aims/goals:Just like that ofIEPS-Student, the goals of the lesson plan should be S.M.A.R.T. (specific, measurable, achievable, relevant and time bound/tailored). Your goals should be clearly defined so that students understand what is expected of them. What should the students learn from the lesson? How is success? Focus on specific behavior the student will demonstrate and the level of quality required. Use active words like explain, summarize, measure, or remember instead of vague words like study or learn. Also, try to get students with higher-order creative skills into Bloom's taxonomy by having them design, compose, or build something. It might be like how students can identify six characteristics of a mineral, but a higher-order skill might be composing a personal narrative. - Aligned Patterns:Eithercommon core,Next Generation,SOUGHT, or all of the above and more, standards are a crucial way to keep students learning as consistently as possible in the classroom. It is important to note everyoneStandardsbe supervised by the class. Most schools now require a standard binding for each lesson. Even if your school doesn't require you to write down what standards you meet, it's a good idea to familiarize yourself with state and national standards. You will be surprised how manyStandardsYou meet in every class. You can also examine how a lesson fits into the scope and sequencing of learning throughout the year. - Reviews:Ultimately, assessments are a way for you to learn about your students' strengths and weaknesses academically and personally. For this reason there should be an assessment before each lesson to see what you need to teach and after to see how efficiently you have learned it. This can be done through surveys, worksheets, quizzes, writing, discussions, presentations, games, or hands-on activities and challenges. I find formative assessments to be more effective than summative during learning because they can give you an ongoing picture of how your students are performing. Data resulting from your assessments should inform your ongoing teaching. Assessments should be linked to lesson goals. For more information, see10 keys to effective reviews. - Forward Looking Set (Engage):This is your hook on setting the stage to attract students. Some call this anticipation as it sets the tone for the lesson. It can even be linked to your pre-evaluation as you determine what students know. This can be done in a variety of ways with videos, strange images, interesting objects, or an interesting question. You might ask, "Have you ever wanted to travel to another planet?" or you might be given a piece of a meteorite for the students to hold. Whichever method you use, you should draw on the student's prior knowledge and encourage questions. What do you know about our planet? How could what we travel to be any different? Establish life contexts and show the meaning and purpose of the lesson. They frame the lesson in the context of previous lessons and the nature of their lives. - Template (Explore):You keep the students engaged with the concept/lesson, but now give them some time to develop their own ideas through exploration. This is where you start to really facilitate learning by discovering and demonstrating new skills, exploring key concepts and starting to investigate. You can ask research-oriented questions while students share their ideas and make predictions. You and/or students can record any of your ideas. - Direct Lessons (Whole Group/Explain):They are now beginning to communicate new insights. They can provide explanations, justifications, new vocabulary and definitions. You can use props, have discussions or watch videos. The problem with direct teaching is not that it is inherently bad/restrictive, but that many teachers spend their entire class/lesson doing it. As a general rule of thumb, limit it to 15 minutes (5-10 is better). You have to show instead of telling. Remember, just because you tell students something doesn't mean they're learning. Visual tools can help with understanding, so try to make it multimodal and include any material to motivate students and improve information retention. Here you are8 visual toolshelp. - Guided Practice (expanding/elaborating):The students should now guide each other. and apply what you have learned to a new situation. Having learned about one animal, they are now learning to classify several or even create their own. Many teachers use this time to fill out the worksheet or write on the poster. Some are considering guided practice for homework, although there will be little guidance unless you have the tools and technology to provide reverse instruction. There are a number of other options where students can use this time to start creating drawings, diagrams, small models, or researching and writing together in a Google Doc. If necessary, place struggling students in a separate group for further guidance. - Independent practice (evaluating):Your primary goal should always be to help students achieve assignments and learning goals on their own. This does not mean that you cannot provide assistance, but it does confirm that you were not fully prepared for this step. You may have to adapt and install the instructionsframeworkto help students achieve their independence. Again, some teachers see this as the homework step. It doesn't have to be special if you're unsure of your independence. It doesn't mean it's lonely either. Independent practice can be a collaborative experience (regardless of the help of the teacher rather than classmates) where students complete asurvey project. - Conclusion and follow-up:Very few lessons end up being wrapped up nicely when you say I've accomplished everything I set out to do. When this happens, it probably means you've decided to underdo. The least you should do is review what they should have learned, make connections to future lessons, and see how well you've met the learning objectives. Independent practice can give rise to formal peer and teacher assessments, which can take place as you assess students' knowledge. I explained how to do this in the Reviews section. Ultimately, you want to be clear about how far you've come and where you still want to go. - Materials and equipment:Here you can remember and share with other teachers what you need for this lesson. This can be books, cardboard, transparencies and pens or digital resources such as laptops, websites and apps. It could also mean you have to find an alternative if you find the digital model is in oneFlash based death spiral. It's the space where you need to make sure you have everything that isn't usually available in your classroom. It's like a cheat sheet and checklist to prepare for class. While there are phases and phases that a lesson goes through, there are additional elements that great teachers always incorporate into their lessons. - Student choice:One of the best ways to make lessons engaging and meaningful is to give students options. give them a say in planning and how they want to demonstrate mastery of a topic, especially during the stand-alone practice portion. This may mean that some students make films, create presentations, or stage a play, while others write essays, create projects, or create a website. You can decide which level is sufficient, but give them the opportunity to feel empowered with personalized instruction. - Multicurriculares:The world and careers of the future are not neatly compartmentalized, so why are we doing this in a classroom? While the focus on a skill and our goals is important, there's no reason why a novel can't have scientific or historical implications, or why math can't be artistic. We must always strive to develop our teachinginterdisciplinary skills(see 21st Century Skills below). - 21st Century Skills:Without going too deep into this element, 21st century learning skills are now just essential life skills for modern learners. We need to teach our students the 7Cs directly so they can communicate, collaborate, be creative, and think critically in whatever field of study they pursue. This includes the integration of technology. Whatever the impact, computers have become a critical part of our society and it doesn't seem to be diminishing. Therefore, we must teach our students to use it properly and for the common good. it can meandigital civicsor it may simply involve the use of a collaboration or accessibility tool. - Practical guide:Whether it is part of student selection or an entire class exercise,practical learningIt's a more effective way to get students to retain information. It doesn't have to be a big undertaking either. In math, it can be easy to use manipulators or skittles to trace favorite colors. In literacy, you can have students use icons and character images to depict a story on an interactive display. - Multimodal:If you present information only once and in only one format, it is almost certain that many students will not understand it. Therefore, in addition to direct lectures, you should also use visual aids alongside practical learning tasks. - Multiple tasks:Never stay in one part of a class for too long, especially with younger students. It is an unrealistic expectation to think that a 7 year old (or even a 37 year old) can sit and work for 6 hours. Because of this, a good lesson should go through each step without spending too much time concentrating on any particular one (especially direct instructions). By doing this, you can also create opportunities in your class to find out what students are doing and where they might need help. - differentiation:Differentiation should not only take place in special education. All students learn in different ways and at different speeds. You need to incorporate these tweaks into your lesson plan structure. while there isArguments about the value of differentiation, most of it stems from a misunderstanding of what it actually means. The learning styles of the students determine the structure of the lessons. It means trusting the students to follow their learning path and although it initially requires more work on the part of the teacher, it ultimately allows the teacher more freedom due to greater student autonomy. Sometimes the best way to determine how you can differentiate yourself in the future is to see where your current plan has failed and make adjustments to fill those learning gaps. Make your class accessible to all your students. - Development:For a lesson to remain valid, it must not stagnate. Even if you teach history, we regularly learn new information and new techniques for integration. Also, the needs of your students will change and your classes will need to change with them. So the class that was perfect today had to be adjusted a bit next year. For example, I found that I can now add the updateApplication Google Arts and Cultureas a tool in the example personal storytelling lesson below. Here are some sample lessons/units I put together for my STEM classroom. I'm showing the home page, but you get to the full multipageClassification sessionepersonal storytelling lessonsto see how I structured them. That doesn't mean you have to do it the same way. Your teaching needs may vary greatly, but this should give you an idea of how I incorporate the elements listed above into practice. There are several places where you can find additional sample lesson plans. Many educational technology companies, such asBrainPOP,Flocabulario, zdiscovery pedagogyhave sample classes that use their tools. You can also check out the lessons below, but I suggest you adapt to your needs and use the elements above. - Training- K-5 math and literacy classes - NEA–K-12 multi-subject classes - ReadWriteThink– K-12 literacy courses - School- K-8 literacy courses - teacher created–K-12 multi-subject classes - Technology- K-12 classes with multiple subjects - Material do professor de A a Z- K-12 classes with multiple subjects - teacher created–K-12 multi-subject classes - timetables- K-12 classes with multiple subjects published bySean Arnold I'm a New York District 75 special education teacher and STEM coach.See all posts by Sean Arnold - Lesson Information. ... - Lesson Topic. ... - Benchmarks and Performance Standards. ... - Intended learning outcomes. ... - Instructional Resources. ... - Arrangement of the Environment. ... - Instructional Activities. Often, there are multiple steps to a strong lesson plan. This eight step lesson plan template includes: objective, motivation, materials, guided practice, independent practice, essential questions, evaluation and homework.What are the elements that make a good lesson plan? › The elements of the lesson plan are: assessment, duration, objectives, activities, strategies and learning outcomes (Burgul Adiguzel, 2021).What are the 8 components of the teaching learning process? › The components are: (1) Educational Planning, (2) Educational Administration, (3) Educational Organisation, (4) Educational Direction, (5) Educational Co-ordination, (6) Educational Supervision, (7) Educational Controlling, and (8) Educational Evaluation.How to create lesson plan? › (1) Determine the objective (2) Research the topic as defined by the objective (3) Select the appropriate instructional method (4) Identify a usable lesson planning format (5) Decide how to organize the lesson (6) Choose appropriate support material (7) Prepare the beginning and ending of the lesson (8) Prepare a final ...What are the 7 step lesson plans? › The Madeline Hunter "seven step lesson plan." The basic lesson plan outline given above contains the so-called "Hunter direct instructio·n lesson plan elements:" 1) objectives; 2) standards·, 3) anticipatory set, 4) teaching [input, modeling, and check for understanding], 5) guided practice, 6) closure, and 7) ...How to write a lesson plan example? › - Identify the objectives. ... - Determine the needs of your students. ... - Plan your resources and materials. ... - Engage your students. ... - Instruct and present information. ... - Allow time for student practice. ... - Ending the lesson. ... - Evaluate the lesson. The 7Cs are: Critical thinking, Creativity, Collaboration, Communication, information, and media literacy, Computing and ICT literacy, Cross-cultural understanding, and Career and learning self-reliance.What are the 5 major parts of lesson plan? › A well-planned lesson includes the lesson topic, class objectives, procedure, time management, and student practice.What are the 5 major components of a lesson plan in order? › A good lesson plan should include the following 5 components; lesson topic, class objectives, procedure, time management, and student practice. - Learner objectives. ... - Personal aims. ... - Language Point. ... - Teaching Aids. ... - Anticipated problems. ... - The procedure, Phase, and Timing. ... - Interaction. ... - Class level, number of students. The milieu, matter, mastery, method, material, media, motivation, and measurement of learning are prerequisites in building an educational framework that is all-encompassing and all-embracing. They can never be set aside since we are aiming for a wholistic approach to education.What are the 3 most essential elements in the teaching learning process? › Effective teaching involves aligning the three major components of instruction: learning objectives, assessments, and instructional activities. Taking the time to do this upfront saves time in the end and leads to a better course.What is a basic lesson plan format? › A basic lesson plan template includes three key elements: beginning (introducing the targeted objective), middle (presenting the main activities), and end (closing the lesson). The K.I.S.S template is one of the simple lesson plan templates that teachers really love.How many steps are there in lesson plan? › According to Herbart, there are eight lesson plan phases that are designed to provide "many opportunities for teachers to recognize and correct students' misconceptions while extending understanding for future lessons."What is the format of detailed lesson plan? › A detailed lesson plan (DLP) is exactly that, a detailed description of the exact steps to teach a specific topic. A DLP includes five parts of thorough explanation on, lesson topic, class objectives, procedure, time management and student practice.What are the 4 A's of a lesson plan? › Choose a topic that you want the children in your class to learn and apply the 4-A's of activating prior knowledge, acquiring new knowledge, applying the knowledge, and assessing the knowledge.What is the 7E model of lesson planning? › The 7E learning cycle model is a model that can guide students to actively acquire new knowledge with 7E (elicit, engage, explore, explain, elaborate, evaluate, and extend). Teaching materials using 7E learning cycle can help students understand the problems and phenomena they encounter in the environment.What are the 6 important components of lesson plan? › - Objective. A lesson objective can be one of the most important components of a lesson plan. ... - Materials. If you prepare the materials ahead of the lesson, you may have more time to focus on teaching. ... - Background knowledge. ... - Direct instruction. ... - Guided teaching. ... - Closure and assessment. What is a Daily Lesson Plan Template? Lesson plans are detailed outlines of instruction that educators create daily. Daily lesson plans are typically used as a step-by-step guide to assist teachers in teaching whatever they are teaching in their classrooms. Five C's for teaching. Use connectedness, conversation, curiosity, consideration, and community and culture to create a successful learning environment.What are the 4 C's in lesson planning? › The 4Cs: Creativity, Critical Thinking, Communication and Collaboration in Schools.What are the seven 7 parts of a lesson plan? › The basic lesson plan outline given below contains the direct instruction element: 1) objectives, 2) standards, 3) anticipatory set, 4) teaching [input, modeling, and check for understanding], 5) guided practice, 6) closure, and 7) independent practice.What are the 5 most important things that a successful lesson has? › - Follow-up / recap. - Objective setting. - Introduce the new concepts. - Practice by doing. (1) Machine (technology); (2) Method (process); (3) Material (includes raw materials, consumables, and information. ); (4) Man Power (physical work)/ Mind Power (brain work): Kaizens, Suggestions; (5) Measurement (Inspection); (6) Milieu/Mother Nature (Environment).What are the 8 skills of micro-teaching? › - The skill of introduction. - The skill of explaining. - The skill of questioning. - The skill of stimulus variation. - The skill of reinforcement. - The skill of illustration. - The skill of blackboard writing. - The skill of achieving closure. The internal effective 8 Ms are: management, material, machine, manpower, method, money, measurement, minutes; the external 2 Ms are: market and ministry. If Lean culture is realized and people achieve Lean thinking, then the problems are made visible and are understood before considering the solutions.What is the most important element in the teaching and learning process? › The most important component of the teaching-learning process is Learner as all the activities and the whole process is centered and planned around him. Learning-centered education focuses on the learning process.What is the most important elements in the learning process is? › These elements are: differentiation, adaptivity, student engagement, direct instruction, practice, formative assessment with immediate feedback and student explanation of learning.What are the 5 major parts of a lesson plan? › A well-planned lesson includes the lesson topic, class objectives, procedure, time management, and student practice. A DLP includes five parts of thorough explanation on, lesson topic, class objectives, procedure, time management and student practice.What are the 5 C's lesson plan? › Five C's for teaching. Use connectedness, conversation, curiosity, consideration, and community and culture to create a successful learning environment.What are the ABCD components of lesson plan? › Learning Outcome Statements can be written using the ABCD (audience, behavior, condition, and degree) method. While the method is often directed at learning objectives, it can also be used to write learning outcomes.What is the format of a lesson plan? › A general format of a lesson plan can be like this: Lesson activities. Lesson materials. Lesson objectives.

<urn:uuid:1908ee46-84ca-4731-a48b-2b4b6d2f63ec>

CC-MAIN-2023-40

https://acrecu.pics/article/creating-the-perfect-lesson-plan-10-steps-and-8-essential-elements-dare-to-try

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510942.97/warc/CC-MAIN-20231002001302-20231002031302-00695.warc.gz

en

Transcript: 2nd Period Introduction to Accounting Maya Torres The Basic Accounting Equation Assets = Liability + Owner's Equality The Basic Accounting Equation What is the purpose of accounting? The main purpose of accounting is to prepare financial reports that provide information about a person/buiseness's performance. What is the purpose of accounting? Assets Definition: A resource with economic value Example: Owning property to generate extra money Assets Liabilities Definition: A thing of which someone is responsible, especially financial obligations Example: A debt Liabilities Owner's Equity Definition: The ammount of liabilities subtracted by the ammount of assets Example: The ammount of money your land generates, minus the debt you owe to the person who sold you the land Owner's Equity Simplified Version of Basic Accounting Formula Liabilities = Assets - Owner's Equity Simplified Version of Basic Accounting Formula Credit and Debit Credit: A record of an ammount received, usually on the right side of an account. Debit: A record of an ammount owed, usually on the left side of an account Credit and Debit Account Title Credit Debit Financial Statements A formal record of monetary actions of a person or buisness Financial Statements Balance Sheet: A statement of assets and liabilities of a specific buisness or other organization Income Statement: A statement that measures a companies financial performance over a specific accounting period Financial Statements Review Questions What are debits and credits? Debits and credits are statements going into an account listing the ammount received (credits) and the ammount owed (debits). Review Questions What are the basic account types? The basic account types are assets, liabilities, expensense, and income. Review Questions What is an income statement? An income statement is a statement that measures a companies financial performance over a specific accounting period Review Questions What is a balance sheet? A balance sheet is a statement of assets and liabilities of a specific buisness or other organization. Review Questions Transcript: Prezi: zoom in wherever PowerPoint: slide to slide Weaknesses Bore people It cost money, need the software for it Need to save it on a flash drive, can’t access it everywhere Who Won? Less to carry Neater Bores people Costs money Can't access everywhere Prezi PowerPoint Strengths Templates to chose from Help less creative people Who would win? Too interested Internet Caught up in work Older Straight to Focus Prezi PowerPoint Usually has more color Don't see it as often Like the set up better Prezi PowerPoint PowerPoint More interested in prezi and not your information Need internet access to get on prezi Could get caught up in your work , have too much going on Prezi Older audience Straight forward with information Focused on topic Presentation Space PowerPoint Differences Prezi: pictures at angles Powerpoint: horizontal or vertical Prezi Simple Vs Complicated Round One Younger audience Side notes Want to show them new things People are familiar with it Don't need internet Print out the slides to hand out Free Newer Access Round Two Prezi Similarities Handouts Familiar No internet Zoom Templates When To Use.. Young Notes New things Prezi V.S. PowerPoint Keeps people interested Access it as long as you have internet It's free Who would win? Images Get point a crossed Looks official Prezi Strengths Prezi sometimes overwhelming PowerPoint fairly simple Round Three PowerPoint Transcript: Consumer Loans Operantion - Funding: Notes Templates The template project Goal * The goal is for our department is to achieve consistent and efficient communication in the loan funding process. We hope to accomplish this by creating templates containing the essential key information required for funding our loans. Hopefully, the templates will reduce funding delays caused by missing information in applications and, consequently, improve on our members' experience. Tasks with templates: Types of Templates POI queue Reviewer Ready to Fund ESig Others: Calls and Credit Card emails POI QUEUE POI queue **POI queue: Income verified with POI attached. Sent Mbr Income Verification Email to fund online. **POI queue: Income did not verify as stated. Pls review and advise. **POI queue:VFd income with paystub attached. Stip remaining sent Mbr Income Validated Additional Stipulations Remaining. *POI queue: Income verified with paystub attached. Pls proceed with limit/rate increase on credit card. **POI queue: Mbr attached W2, unable to VF income. No PDD on file. Sent Mbr the Updated Documents Required Email. **PENDING QUEUE: Still need paystubs to proceed with app. Emailed mbr to advise. Queued app to pending Member response. Reviewer Reviewer **Reviewer Called and spoke with mbr. Mbr is aware of pending items. Mbr will email items to myloan inbox and call us back. FRANCHISE DEALER PURCHASE ATTACHED AND VFD: PO, TERMS, STIPS MISSING: OR **Reviewer Called mbr at (xxx)xxx-xxxx and Lft VM advising mbr to call us back. Sent Dealer Purchase template email. FRANCHISE DEALER PURCHASE ATTACHED AND VFD: PO, TERMS, STIPS Key documents: Docs required FRANCHISE DEALER PURCHASE ATTACHED AND VFD: PO, TERMS, STIPS LEASE BUYOUT ATTACHED AND VFD: LBO, AUTH, REG, TERMS, STIPS EXTERNAL REFINANCE ATTACHED AND VFD: PAYOFF, AUTH, REG, TERMS, STIPS INTERNAL REFINANCE ATTACHED AND VFD: REG (IF THERE ARE REG CHANGES), TERMS, STIPS PERSONAL LOAN - PAY DIRECT ATTACHED AND VFD: LENDER STMTS, TERMS, STIPS PERSONAL LOAN - EDU PURPOSE ATTACHED AND VFD: SELF CERT, TERMS STIPS HIGHER EDUCATIONAL LOAN ATTACHED AND VFD: SELF CERT, PROOF OF ENROLLMENT, TERMS STIPS SPECIAL CURRICULUM LOAN ATTACHED AND VFD: SELF CERT, PROOF OF ENROLLMENT, TERMS STIPS CREDIT CARD ATTACHED AND VFD: CCR (IF APPLICABLE), TERMS, STIPS PPP W/O LIEN ATTACHED AND VFD: REG, TITLE, TERMS, STIPS. PPP W/ LIEN ATTACHED AND VFD: PAYOFF, AUTH, REG, TERMS, STIPS. Disbursement note example: Ready to Fund #(APP NUMBER) DISBURSEMENT NOTES - FRANCHISE DEALER PURCHASE DOCS SENT VIA DOCUSIGN: LL/WAIVER/PSP/POA/GAP/MRC VIA DOCUSIGN AMOUNT FINANCED: $XX,XXX.XX MONEY ALOCATED? $XX,XXX.XX INTO S01 $495.00 INTO GL – GAP $X,XXX.XX INTO GL – MRC ISSUE THE FOLLOWING: $XX,XXX.XX DEALER'S NAME RE: VIN# RE: Vehicle - YEAR, MAKE, MODEL RE: MEMBERS' NAMES FEDEX CHECK TO: DEALER'S NAME DEALER'S ADRESS DEALER'S ADRESS DEALER'S PHONE # Additional Notes: *PLEASE, INCLUDE ***** (ATTACHED) WITH CHECK. TYPES OF TEMPLATES 12 Disbursement notes templates: 1- DP - FRANCHISE 2- DP - NON-FRANCHISE 3- LEASE BUY-OUT 4- EXTERNAL REFINANCE 5- INTERNAL REFINANCE 6- CASH-OUT REFINANCE 7- PPP W/ LIEN 8- PPP W/I LIEN 9- PL 10- PL - PAYDIRECT 11- PL - EDU LOAN W/ PAYOFF 12- PL- EDU LOAN W/O PAYOFF DISBURSEMENT NOTES - FRANCHISE DEALER PURCHASE DOCS SENT VIA DOCUSIGN: LL/WAIVER/PSP/POA/GAP/MRC VIA DOCUSIGN AMOUNT FINANCED: $XX,XXX.XX MONEY ALOCATED: $XX,XXX.XX INTO S01 $495.00 INTO GL – GAP $X,XXX.XX INTO GL – MRC ISSUE THE FOLLOWING: $XX,XXX.XX DEALER'S NAME RE: VIN# RE: Vehicle - YEAR, MAKE, MODEL RE: MEMBER'S NAME FEDEX CHECK TO: DEALER'S NAME DEALER'S ADRESS DEALER'S ADRESS DEALER'S PHONE # Additional Notes: *PLEASE, INCLUDE ***** (ATTACHED) WITH CHECK. 1 2 DISBURSEMENT NOTES - NON-FRANCHISE DEALER PURCHASE DOCS SENT VIA DOCUSIGN: LL/WAIVER/PSP/POA/GAP/MRC VIA DOCUSIGN AMOUNT FINANCED: $XX,XXX.XX MONEY ALOCATED: $XX,XXX.XX INTO GL - DRAFT $495.00 INTO GL – GAP $X,XXX.XX INTO GL – MRC Additional Notes: -PLEASE, EMAIL DRAFT LETTER TO THE FOLLOWING: DISBURSEMENT NOTE: INTERNAL REFINANCE DOCS SENT VIA DOCUSIGN: LL/WAIVER/PSP/POA/DMV DISC/GAP/MRC VIA DOCUSIGN AMOUNT FINANCED: $XX,XXX.XX MONEY ALOCATED: $XX,XXX.XX INTO S01 $15.00 INTO GL- MVSC $25.00 INTO GL- MVSCFEE $495.00 INTO GL – GAP $XXX.XX INTO GL – MRC PAYOFF L00 $X,XXX.XX W/ EFF DATE XX/XX/2023 CHANGE ECOA COMMENTO TO "AS" UNDER L00 (APPLICABLE FOR AUTO PAYOFF, ONLY) Additional Notes: *Please, Queue the app to the DMV checklist queue. 3 Disbursement Notes - Special curriculum (EDU W/ PAYOFF) DOCS SENT VIA DOCUSIGN: LL/PSP/W9 AMOUNT FINANCED: $X,XXX.XX MONEY ALLOCATED: $X,XXX.XX TO ED LOAN GL ON XX/XX/2023 (after 3rd day), PLS PROCEED AS FOLLOWS: DEBIT ED LOAN GL $X,XXX.XX DEP FUNDS $X,XXX.XX TO S70 PAYOFF L00 $X,XXX.XX W/ EFF DATE XX/XX/2023 LEAVE REMAINING AMOUNT IN MBR'S S70 $X,XXX.XX Additional Notes: *SELF CERT SENT VAI DOCUSIGN WITH FINAL LOAN DOCS 4 5 DISBURSEMENT NOTES - EDU PL - no payoff required DOCS SENT VIA DOCUSIGN: LL/PSP/W9 Amount financed: $XX,XXX.XX into Transcript: Speeches Job interviews Graduations Prezi Vs. PowerPoint PowerPoint Fun Nonlinear Complex Pros Entertaining Interactive Free Cons Too much is going on Internet Motion sickness Investigated By: Delaney Hall When to use PowerPoint PowerPoint Free Entertaining More enjoyable Notes Teaching Presentations Investigated By: Delaney Hall When to Use Prezi Similarities Conclusion Prezi Age: 14 Differences 1st place Prezi Serious Linear Understandable PowerPoint Prezi Organized Easy to learn Pros Organized No internet Don't learn extra tools Cons Boring Download Can't zoom in or out Thanks For Watching Move through topics User friendly Templates Prezi Introduction Transcript: Blackmon Notes Powerpoint # 4 & 5 4. Name the Germanic invaders that invaded the following Countries: Spain, Italy, England, Denmark, and Germany. Who were the Celts? Paragraph 2 & 3 Page 514 Anglo and Saxons/ Scottish, Weish, and Irish Picture of Anglo and Saxons warriors 5. What Germanic Tribe took over France (Gaul)? Who was King Clovis? What was his religion? Paragraph 4 Page 514 The Franks, King Clovis was the King over the Franks, he was Catholic Picture of King Clovis First 5 Facts In Britian as the empire began to weaken, Roman culture declined quickly. When the Anglo and Saxons conquered southeastern Britian, they pushed aside the people living there. Some Celts fled north and west to the mountains. During the A.D. 400s a Germanic called the Franks settled in the area that is know as France. King Clovis became Catholic. Second 5 Facts Before long the Franks all became Catholic After Clovis died his, sons divided the kibgdom among themselves. These kings often fought over land. The nobles under them took over many royal duties. A.D 700 the mayors where giving out land, settling disputies, and fighting there own war. Picture of a Catholic Church Picture of Anglo and Saxons war map Thanks For Watching Transcript: Example of a Jeopardy Template By: Laken Feeser and Rachel Chapman When creating without a template... http://www.edtechnetwork.com/powerpoint.html https://www.thebalance.com/free-family-feud-powerpoint-templates-1358184 Example of a Deal or No Deal Template PowerPoint Game Templates There are free templates for games such as jeopardy, wheel of fortune, and cash cab that can be downloaded online. However, some templates may cost more money depending on the complexity of the game. Classroom Games that Make Test Review and Memorization Fun! (n.d.). Retrieved February 17, 2017, from http://people.uncw.edu/ertzbergerj/msgames.htm Fisher, S. (n.d.). Customize a PowerPoint Game for Your Class with These Free Templates. Retrieved February 17, 2017, from https://www.thebalance.com/free-powerpoint-games-for-teachers-1358169 1. Users will begin with a lot of slides all with the same basic graphic design. 2. The, decide and create a series of questions that are to be asked during the game. 3. By hyper linking certain answers to different slides, the game jumps from slide to slide while playing the game. 4. This kind of setup is normally seen as a simple quiz show game. Example of a Wheel of Fortune Template https://www.teacherspayteachers.com/Product/Wheel-of-Riches-PowerPoint-Template-Plays-Just-Like-Wheel-of-Fortune-383606 Games can be made in order to make a fun and easy way to learn. Popular game templates include: Family Feud Millionaire Jeopardy and other quiz shows. http://www.free-power-point-templates.com/deal-powerpoint-template/ Quick video on template "Millionaire" PowerPoint Games Some games are easier to make compared to others If users are unsure whether or not downloading certain templates is safe, you can actually make your own game by just simply using PowerPoint. add logo here References Example of a Family Feud Template PowerPoint Games are a great way to introduce new concepts and ideas You can create a fun, competitive atmosphere with the use of different templates You can change and rearrange information to correlate with the topic or idea being discussed. Great with students, workers, family, etc. For example: With games like Jeopardy and Family Feud, players can pick practically any answers. The person who is running the game will have to have all of the answers in order to determine if players are correct or not. However, with a game like Who Wants to be a Millionaire, the players only have a choice between answers, A, B, C, or D. Therefore, when the player decides their answer, the person running the game clicks it, and the game will tell them whether they are right or wrong. Transcript: Microsoft Office 365 The Basics office 365 offers different features The Basics Apps Apps offered the apps offered on microsoft are teams, word, excel, powerpoint, outlook, onedrive, and onenote Microsoft Teams Microsoft teams Allows users to collaborate with others via video conferencing, meetings, and chats It is free for unlimited group meetings for up to 30 hours Up to 300 participants in a meeting Although teams and zoom is similar, teams offers longer meeting times for free Microsoft word Word Word offers different templates such as blank templates, apa formats, mla formats, and more Allows you to insert imagines, change fonts, set page layouts, etc. Word is the most commonly used processor software accessable through online or through computer Microsoft Excel Excel Excel enables users to format, organzie or calculate data using data in this format makes it easier for users to view information there are premium spreadsheets available excel is easy to learn and use PowerPoint PowerPoint powerpoint is a presentation software offers many templates for different slideshows premium templates are provided free to use & easy to use easy to share and collaborate with others Outlook free personal email that connects to office 365 has many features such as copying links, sharing links, uploading images & videos offers folders to organize emails Outlook Onedrive Onedrive onedrive allows users to share and synchronize their files any files saved to one drive goes to the cloud files are private until shared to others doesnt take up space on computer or phone OneNote Onenote onenote is a digital note taking feature that is easy to organize has different templates for free can handwrite on the notes can take notes for you by using "record audio" Pricing Office 365 offers different plans and pricing for personal use and businesses family plans are $9.99 a month Pricing Microsoft 365 vs Google Workspace Compare Microsoft is cheaper Microsoft holds more storage offers free storage up to 30 GB offers more templates Microsoft allows you to download the app on your phone Video Transcript: Prezi VS Powerpoint By Rebekah Godbold Prezi Prezi Website Advantages Adavntages Multiple choices of what type of presentations you can do So many templates to choose from Has cool effects that happen automatically Good quality of resolution Disadvantages Disadvantages Costs money to use Too advanced for someone who doesn't know there way around the website Better templates cost money Forces you to have an account to use Bland beginner templates Improvements Improvements Have a tutorial for how to do everything Make everything easier to understand Be free to use Can cancel the free trial at any point Powerpoint App Powerpoint Advantages Advantages Free to use Everything is easy to understand Can change the designs Can choose the animations Can add music Free images to add and use Can make charts and simple notes Disadvantages Disadvantages Can be fiddly to fix something Pictures don't always load up Have to save your work so it doesn't all disappear Some tools are more advanced to use Can't be used on all devices Improvements Improvements To be able to use this app on all devices Less glitchy when you start to run out of storage Add more updates for new and more modern detailed ideas Description: Add some color to your quarterly business review with this vibrant business presentation template. The bold visuals in this business template will make your next QBR a memorable one. Description: Catch the eye and engage the imagination with this cool-looking Prezi proposal template. The bold, bright design and highly dynamic theme all but guarantee success for your next sales or marketing proposal. All Prezi presentation templates are easily customized. Description: Storytelling is at the heart of great service. Use this stunning, customizable business presentation template to highlight employees who do exceptional work or position your customers as the heroes of your business. Description: The sky’s the limit. Boost your new sales initiative into orbit with an engaging and compelling SKO presentation. This template features a effective sales kickoff theme that makes it easy to be engaging. Like all Prezi SKO templates, it’s fully customizable with your own information. Now you can make any subject more engaging and memorable

<urn:uuid:08c6e314-356b-4141-889d-b86425c9a1bf>

CC-MAIN-2023-40

https://prezi.com/l/free-templates-for-powerpoint-notes/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233511717.69/warc/CC-MAIN-20231005012006-20231005042006-00896.warc.gz

en

Thunderstruck early printing holds a significant place in the history of mass communication and the dissemination of knowledge. From its humble beginnings to its transformational impact on society, the evolution of early printing techniques has shaped the world we live in today. In this comprehensive blog article, we delve into the intricacies of thunderstruck early printing, uncovering its origins, techniques, and historical significance. Origins of Thunderstruck Early Printing In this section, we embark on a journey through time to discover the beginnings of thunderstruck early printing. The origins of printing can be traced back to ancient civilizations, where various forms of early printing techniques emerged independently across different cultures. The invention of paper in ancient China, for example, laid the foundation for the development of printing techniques. The Birth of Paper and Early Printing Ancient China, around the 2nd century BCE, witnessed a remarkable innovation that would revolutionize the spread of knowledge – the invention of paper. Made from pulped plant fibers, paper quickly replaced other writing materials like bamboo and silk due to its affordability and accessibility. This breakthrough invention provided a vital medium for early printing techniques. One such technique that emerged in ancient China was woodblock printing. Woodblock printing involved carving characters or images onto a wooden block, inking the block, and then pressing it onto paper to create a print. This method allowed for the reproduction of texts and illustrations, enabling the dissemination of knowledge on a larger scale. Early Printing in Other Parts of the World While China made significant strides in early printing techniques, other parts of the world also witnessed the emergence of their own printing methods. In ancient Egypt, for instance, the invention of papyrus as a writing material laid the groundwork for early forms of printing. Egyptian scribes would inscribe texts onto papyrus scrolls using reed pens, creating multiple copies of important documents. Similarly, in the ancient civilization of Mesopotamia, clay tablets were used for writing and reproducing texts. Scribes would inscribe cuneiform characters onto damp clay tablets using a stylus, creating impressions that could be replicated by baking the clay tablets. The Revolutionary Printing Press Section summary: In this section, we explore the revolutionary invention of the printing press and its transformative impact on the world. We delve into the groundbreaking contributions of Johannes Gutenberg and the Gutenberg Bible, which paved the way for the mass production of books and the spread of knowledge. The Genius of Johannes Gutenberg The printing press, as we know it today, owes its existence to the ingenuity of Johannes Gutenberg, a German inventor and goldsmith. In the mid-15th century, Gutenberg revolutionized the printing world by inventing a movable type system that allowed for the efficient reproduction of texts. Gutenberg’s movable type system involved creating individual metal letter blocks, which could be arranged and rearranged to form different words and sentences. These letter blocks were coated in ink and pressed onto paper, producing clear and legible prints. This method eliminated the need for laborious hand-copying, making the production of books faster and more cost-effective. The Gutenberg Bible: A Landmark Achievement Gutenberg’s most renowned work, the Gutenberg Bible, stands as a testament to his groundbreaking invention. Completed around 1455, the Gutenberg Bible was the first major book printed using movable type in the Western world. This monumental achievement marked the beginning of a new era in printing and had a profound impact on the dissemination of knowledge. The Gutenberg Bible, also known as the 42-line Bible, consisted of two volumes, each containing 1,286 pages. Its production involved meticulous craftsmanship, with Gutenberg and his team carefully setting and arranging thousands of individual metal letter blocks to create the text. The result was a beautifully printed and easily readable Bible, which became a symbol of the power of the printed word. Techniques and Tools of Thunderstruck Early Printing Section summary: Here, we delve into the intricate techniques and tools employed in thunderstruck early printing. From movable type and printing presses to ink and paper, we explore the craftsmanship required to produce printed works during this era. Movable Type and Letterpress Printing Movable type, invented by Johannes Gutenberg, was a game-changer in the world of printing. The use of individual letter blocks made from metal or wood allowed for greater flexibility and efficiency in typesetting. Printers could quickly assemble and disassemble the letter blocks, enabling the reproduction of different texts without the need for re-carving. Letterpress printing, which utilized movable type, involved arranging the letter blocks in a composing stick, a tool that enabled precise alignment. Once the text was assembled, ink was applied to the raised surfaces of the letter blocks, and pressure was applied to transfer the ink onto the paper. This process created sharp and clear prints, making letterpress printing the dominant printing technique for several centuries. The Printing Press: A Mechanical Marvel The printing press itself was a remarkable invention that played a pivotal role in thunderstruck early printing. It consisted of various components, each serving a specific function. The key elements of a printing press included: The platen was a flat surface on the press where the paper was placed for printing. It provided a stable base for the printing process and ensured even pressure distribution. The bed was a flat, stationary surface that held the type and other printing elements in place during the printing process. It provided a stable platform for the movable type and allowed for precise alignment. 3. Inking System The inking system consisted of rollers or ink balls that evenly distributed ink on the type. Ink balls were made from leather stuffed with wool or horsehair, while rollers were typically made from metal or rubber. The ink was applied to the rollers or ink balls, which were then rolled over the type, coating it with a thin and even layer of ink. 4. Pressing Mechanism The pressing mechanism, usually operated by a lever or a screw, applied pressure to the type and paper, allowing for the transfer of ink onto the paper. This mechanism ensured consistent and controlled pressure, resulting in high-quality prints. Ink and Paper: Essential Materials The choice of ink and paper played a crucial role in early printing. Ink needed to be viscous enough to adhere to the type but not too thick to create smudges or blotches. Early inks were oil-based and made from a mixture of various materials, including carbon black, linseed oil, and resin. Over time, improvements were made to ink formulations, resulting in sharper and more durable prints. Paper, on the other hand, needed to be strong enough to withstand the printing process without tearing or warping. Early paper was made from various materials, such as cotton, linen, or mulberry bark, depending on the region and availability of resources. The papermaking process involved pulping fibers, spreading the pulp onto a screen, and drying it to form thin sheets suitable for printing. Thunderstruck Early Printing’s Impact on Society Section summary: This section uncovers the profound impact of thunderstruck early printing on society. We examine how the mass production of books and the democratization of knowledge fueled intellectual and cultural revolutions, transforming education, science, religion, and more. The Democratization of Knowledge One of the most significant consequences of thunderstruck early printing was the democratization of knowledge. Prior to the advent of printing, books were scarce and expensive, mainly accessible to the elite and religious institutions. However, the mass production made possible by printing presses allowed for the widespread availability of books at a lower cost. This newfound accessibility to knowledge had far-reaching effects. It empowered individuals from all walks of life to educate themselves, fostering intellectual growth and critical thinking. As books became more accessible, literacy rates rose, and a more informed and educated society emerged. The Scientific Revolution and the Enlightenment The impact of thunderstruck early printing on scientific progress cannot be overstated. The dissemination of scientific knowledge through printed works sparked the Scientific Revolution, a period of significant advancements in various fields of science. Scientists and scholars could now share their discoveries and theories with a broader audience, leading to collaboration and further innovation. Furthermore, thunderstruck early printing played a pivotal role in the Enlightenment, a period characterized by the pursuit of reason, individual rights, and social progress. Philosophers and thinkers used printed works to disseminate their ideas, challenging traditional beliefs and advocating for societal change. The spread of Enlightenment ideals through printed materials laid the foundation for modern democratic societies. The Reformation and Religious Transformations Thunderstruck early printing also had a profound impact on religion. The widespread availability of religious texts, such as the Bible, allowed individuals to interpret and engage with religious teachings independently. This led to the rise of various religious movements, including the Protestant Reformation in the 16th century. Reformers like Martin Luther utilized the printing press to disseminate their criticisms of the Catholic Church and promote their own interpretations of religious texts. The ability to print and distribute religious pamphlets and translated versions of the Bible in the vernacular languages empowered individuals to questionchurch authority and forge their own spiritual paths. The Reformation sparked a wave of religious transformations across Europe, leading to the establishment of new Protestant denominations and challenging the religious status quo. Literacy and Education With the advent of thunderstruck early printing, literacy rates soared as more people gained access to books and printed materials. The availability of printed educational materials revolutionized the way people learned and acquired knowledge. Schools and universities began incorporating printed textbooks into their curricula, making education more accessible and standardized. Printing also played a crucial role in the development of vernacular languages. Prior to the printing press, Latin was the dominant language used in religious, academic, and legal texts. However, with the ability to print in various languages, vernacular tongues gained prominence, allowing for wider readership and cultural preservation. Thunderstruck Early Printing in Art and Literature Section summary: Here, we explore the influence of thunderstruck early printing on art and literature. From illuminated manuscripts to woodblock prints, we uncover the artistic expressions that arose from the convergence of printing techniques and creativity. Illuminated Manuscripts: A Fusion of Art and Text Before the advent of the printing press, books were meticulously crafted by hand, often featuring intricate illustrations and decorations. These exquisite manuscripts, known as illuminated manuscripts, were created by skilled scribes and artists who painstakingly added vibrant colors and gold leaf to enhance the text. Thunderstruck early printing brought together the artistry of illuminators and the efficiency of printed text. Printed books began to incorporate decorative elements, such as ornate initial letters and borders, mimicking the aesthetic of illuminated manuscripts. This fusion of art and text continued to influence book design and illustration long after the introduction of the printing press. Woodblock Prints: Spreading Visual Narratives Woodblock printing, which originated in ancient China, gained popularity as a means of visual storytelling. Woodblocks were carved with intricate designs and illustrations, and ink was applied to the relief surface before being pressed onto paper. The resulting prints captured the details and nuances of the original artwork. Thunderstruck early printing further advanced the art of woodblock prints. Techniques like chiaroscuro, which involved using multiple woodblocks to create shading and depth, brought a new level of realism to the prints. Woodblock prints played a significant role in disseminating religious, historical, and cultural narratives, allowing for visual storytelling on a mass scale. Challenges and Limitations of Thunderstruck Early Printing Section summary: This section sheds light on the challenges and limitations faced by thunderstruck early printing techniques. From the labor-intensive nature of hand-printing to the constraints of materials and resources, we discuss the hurdles that early printers encountered. Hand-Printing and Labor-Intensive Processes One of the primary challenges of thunderstruck early printing was the labor-intensive nature of the process. Each printed page required meticulous hand-setting of individual letter blocks, which was time-consuming and prone to errors. Skilled compositors and press operators were essential for achieving high-quality prints, but their expertise came at a cost. Moreover, hand-pressing each page required physical exertion, as press operators needed to apply consistent pressure to ensure clear and even prints. The manual labor involved in thunderstruck early printing limited the speed and efficiency of production. Materials and Resources Another challenge early printers faced was the availability and quality of materials. The production of ink required sourcing and processing materials like carbon black and linseed oil, which were not always readily accessible. Additionally, the quality of ink varied, resulting in inconsistencies in print quality. Paper production also presented challenges. The availability of suitable fibers for papermaking, such as cotton or linen, influenced the quality and durability of the paper. In regions where these materials were scarce, alternative fibers were used, often resulting in lower-quality and less durable paper. Cost and Accessibility Thunderstruck early printing, despite its revolutionary impact, was initially an expensive endeavor. The cost of materials, skilled labor, and equipment made printed books a luxury that only a privileged few could afford. The high cost limited the accessibility of printed materials, particularly for those of lower socioeconomic status. Furthermore, the dissemination of printed works relied on networks of booksellers, libraries, and educational institutions. Areas with limited access to these establishments had reduced access to printed materials, hindering the spread of knowledge and cultural exchange. The Evolution of Thunderstruck Early Printing Section summary: Here, we trace the evolution of thunderstruck early printing as it progressed from its inception to more advanced techniques. We examine the development of lithography, rotary presses, and other innovations that revolutionized the printing industry. Lithography: The Age of Stone Printing In the early 19th century, a new printing technique emerged – lithography. Lithography, invented by Alois Senefelder, involved the use of a flat stone or metal plate on which the image or text was drawn with a greasy medium. The plate was then inked, and the ink adhered only to the greasy areas. The image or text could be transferred onto paper by pressing it against the plate. Lithography revolutionized the printing industry by allowing for the reproduction of detailed illustrations and intricate designs with greater ease and speed. This technique opened up new possibilities for artistic expression and expanded the realm of printed materials beyond books and newspapers. Rotary Presses and Steam Power As the demand for printed materials grew, innovations in printing technology sought to improve efficiency and increase production speeds. The development of rotary presses, powered by steam engines, was a significant leap forward in thunderstruck early printing. Rotary presses utilized cylindrical plates or curved stereotype plates that could be inked and pressed against paper in a continuous motion. This eliminated the need for manually inserting and removing individual pages, significantly increasing printing speeds. The introduction of steam power further enhanced the efficiency of rotary presses, allowing for even faster production. Typesetting Machines: Automating the Process Another breakthrough in thunderstruck early printing was the introduction of typesetting machines. These machines automated the labor-intensive process of setting individual letter blocks by hand. Inventors like Ottmar Mergenthaler and his Linotype machine revolutionized typesetting by allowing operators to quickly produce lines of text through a mechanical process. The Linotype machine utilized a keyboard to select individual letter molds, which were then cast in molten metal to form a complete line of text. This automated typesetting reduced the time and effort required for setting type, further increasing the speed of printing and making books more affordable. Noteworthy Thunderstruck Early Printing Examples Section summary: In this section, we showcase notable examples of thunderstruck early printing. From significant historical texts to beautifully crafted illustrations, we highlight the masterpieces that emerged from this era of printing. The Gutenberg Bible: A Testament to Printing Mastery The Gutenberg Bible, as previously mentioned, remains one of the most significant examples of thunderstruck early printing. This masterpiece, produced by Johannes Gutenberg and his team, showcases the power of movable type and the craftsmanship of early printers. Each page of the Gutenberg Bible is a work of art, with meticulously set type and carefully inked impressions. The beauty and precision of the printed text and illustrations demonstrate the skill and dedication required to produce such a monumental work. The Nuremberg Chronicles: A Visual Chronicle of History The Nuremberg Chronicles, also known as the Liber Chronicarum, is another notable example of thunderstruck early printing. Published in 1493 by Anton Koberger, this lavishly illustrated book presents a comprehensive history of the world, from biblical times to the contemporary era. The Nuremberg Chronicles features over 1,800 woodcut illustrations, many of which were created by the acclaimed artist Michael Wolgemut and his apprentice, Albrecht Dürer. These detailed woodcuts bring the narratives to life, making the book both informative and visually captivating. Incunabula: Treasures of Early Printing The term “incunabula” refers to books that were printed using movable type before the year 1501. These early printed works are considered treasures of thunderstruck early printing and hold immense historical and cultural value. Incunabula encompass a wide range of subjects, from religious texts like liturgical books and Bibles to classical works of literature and scientific treatises. These books represent the diverse interests and knowledge of the time, providing insights into the intellectual and cultural landscape of the era. Thunderstruck Early Printing and the Digital Age Section summary: This section explores the relationship between thunderstruck early printing and the digital age. We discuss how modern technology has transformed the printing industry and examine the continued relevance of traditional printing techniques. The Rise of Digital Printing In the digital age, printing has undergone significant transformations. Digital printing technologies, such as inkjet and laser printing, have revolutionized the industry by enabling faster, more precise, and on-demand printing. Digital printing eliminates the need for physical typesetting and allows for direct printing from digital files. This has democratized the printing process, making itmore accessible to individuals and small businesses. Moreover, digital printing has opened up new possibilities for customization and personalization, as each printed piece can be tailored to specific requirements. The Resilience of Traditional Printing Techniques Despite the advancements in digital printing, traditional thunderstruck early printing techniques continue to hold their own in the modern world. The tactile quality and unique aesthetic of letterpress, for example, have garnered a resurgence in popularity among artists, designers, and enthusiasts. Traditional printing techniques offer a level of craftsmanship and authenticity that digital printing cannot replicate. The physicality of setting type, the inked impressions on paper, and the characteristic textures and imperfections create a tangible and nostalgic experience that appeals to many. The Synergy of Traditional and Digital Printing In the printing industry today, there is a growing recognition of the value in combining traditional and digital printing techniques. Hybrid printing workflows, where digital technology is used for pre-press and variable data printing, while traditional techniques are employed for embellishments and finishing, offer the best of both worlds. By embracing both traditional and digital printing methods, printers can leverage the efficiency and versatility of digital processes while incorporating the craftsmanship and aesthetic appeal of traditional techniques. This synergy allows for a wide range of creative possibilities and caters to the diverse needs and preferences of clients and audiences. Preserving the Legacy of Thunderstruck Early Printing Section summary: In this final section, we delve into the efforts to preserve and celebrate the legacy of thunderstruck early printing. From museums and libraries to dedicated organizations, we explore the initiatives that ensure these historical printing techniques are not forgotten. Museums and Exhibitions Museums and exhibitions play a crucial role in preserving and showcasing the legacy of thunderstruck early printing. Institutions around the world house collections of rare and historically significant printed materials, allowing visitors to explore the evolution of printing techniques and appreciate the craftsmanship of early printers. Exhibitions dedicated to thunderstruck early printing provide immersive experiences, combining informative displays with interactive elements. Visitors can witness the process of typesetting, view original manuscripts and printed books, and gain insights into the cultural and social impact of early printing. Specialized Libraries and Archives Specialized libraries and archives are invaluable resources for researchers, scholars, and enthusiasts interested in thunderstruck early printing. These institutions house extensive collections of books, manuscripts, prints, and ephemera that document the history and development of printing techniques. Libraries and archives not only preserve these materials but also provide access to them through digitization projects and online platforms. By making these resources available digitally, they ensure that individuals from around the world can study and appreciate the rich legacy of thunderstruck early printing. Dedicated Organizations and Associations Various organizations and associations are dedicated to the preservation and promotion of thunderstruck early printing. These groups bring together professionals, enthusiasts, and collectors who share a passion for the history and techniques of printing. Through conferences, workshops, and publications, these organizations foster knowledge exchange and provide platforms for discussions and collaborations. They also support research and initiatives aimed at advancing the understanding and appreciation of thunderstruck early printing, ensuring that this heritage continues to inspire and educate future generations. In conclusion, thunderstruck early printing stands as a testament to human ingenuity and the power of communication. Its origins, techniques, and impact on society have shaped the course of history. As we embrace the digital age, it is essential to recognize and preserve the rich heritage of thunderstruck early printing, ensuring that future generations can appreciate its profound contributions. By exploring its origins, techniques, and impact, we gain a deeper appreciation for the craftsmanship and innovation that paved the way for the printing industry we know today.

<urn:uuid:dfe5f880-deab-4776-b84e-ebd48232ca91>

CC-MAIN-2023-40

https://printing.bonestudio.net/thunderstruck-early-printing/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233510412.43/warc/CC-MAIN-20230928130936-20230928160936-00198.warc.gz

en

Stepping children beyond the scaffold is one of the hardest things to do. This is an opportunity for the whole class to get involved. 20. It is within this context that a study of this nature was conducted exploring teaching strategies that are used by teachers to improve reading and writing in school A and school … 10 steps to boost independent writing in primary schools. October 2017; ... and on explicit teaching of five genre-specific writing strategies. Writing projects such as a class magazine or newsletter may allow children to see writing differently and help to improve confidence and motivation to write. Teach pupils to use strategies for planning and monitoring their writing Pupils’ writing can be improved by teaching them to successfully plan and monitor their writing. Structure strips are not independent. For instance, provide students with a list of transitional words and phrases for the writing they are tackling. Stuck for Ideas 1. Start early childhood students with journal "writing." 15 Reading Strategies for Primary Learners. Give them something to write about. Effective writing instruction should make the elements of good writing and the strategies of good writers visible and accessible to naive writers (Vaughn, Gersten, & Chard, 2000). I would love to hear about any strategies you use to support struggling writers in your classroom! Here are my top five strategies for improving writing. the writing process, teaching strategies, differentiating, and tracking students’ writing development. Useful strategies might include: reading aloud to identify tricky spelling or expression; using bilingual dictionaries or translators to check spelling and meaning; focusing teacher feedback on a small number of features (3-4) with each piece of writing. My goal as a writing teacher is to help all my students feel successful with writing. The blank page can be daunting to a young writer who struggles with coming up with ideas. Improving Writing in Primary Schools through a Comprehensive Writing Program. Therefore, to improve their writing, you need to address each area. Helping EAL/D students develop editing strategies will support them in future writing tasks. What I see less and less of, however, is the teacher and the children creating a toolkit for writing. How: It will highlight the school’s successes, focus on individual teachers' efforts, and give student recognition.It will also deal with challenges that the school is facing and needs that you have. 3. This is an opportunity for the … Additionally, this helps spark ideas in students who might be stuck. Why: Writing the newspaper column will allow the public the opportunity to see what is going on within the school … Either they can’t connect to the assignment (they don’t have any experience going to the beach, so how can we expect them to write a story about going to the beach), or there is no motivation with the writing purpose - another paragraph for the teacher, who cares! A relatively small number of words (850) account for 80 percent of the words... 3. The site includes over 50 activities that take from five … I scaffold writing instruction to support all my struggling writers from the kids who struggle with coming up with ideas, to the writers who need support. Sign up with your email address to receive our newsletter PLUS gain access to our FREEBIE LIBRARY! Start by teaching your students how to write a strong beginning to their stories. Give students choice with what they write about. Students who struggle with coming up with their own ideas might get inspired by their classmates’ thoughts. Another magpied idea – this time Chris Curtis’ fantastic writing challenges. 5 Ways To Improve Writing. She used to dread writing compositions. Regular reading is a stepping stone to better writing and helps kids’ strengthen their writing skills. I see less of the children writing independently. Students watch as a proficient writer writes, and thinks aloud, similar to an audience watching a chef on a cooking show. '- Home Alone, the education version. Start early childhood students with journal "writing." The writing process--prewriting, writing, sharing/responding, revising, editing, and publishing--is a successful strategy utilized to teach children to write. strategies that are being used to improve reading and writing (Whats up Teach, 2013). All are really valid and important scaffolds in the development of writing. Writing projects such as a class magazine or newsletter may allow children to see … When students feel invested in a topic they will have more to say, thus more to write. They are also helpful to encourage students to write down their thoughts. When students struggle with coming up with ideas about what to write about, try the following scaffolding tips: Students orally share ideas before writing (with a peer, as a whole group, or even record ideas using a technology device) - This gets their creative juices flowing. Encourage Them to Read Widely. Improving Social and Emotional Learning in Primary Schools. It focuses their attention, even in the very early years of school, on the need to be attentive to authorial and secretarial aspects of writing, defined by Daffern and Mackenzie (2015) as embracing: Authorial 1. text structure 2. sentence and grammatical structures 3. voc… Except for those teacher-pleasers and highly intrinsically motivated students, there is little drive and motivation to do their best work when students are simply writing for a teacher to grade. Have them write a blog post to share with the entire third grade, or have them create a persuasive travel brochure. While we refer to it as writing, most children are actually dictating responses that teachers record for them. These two scaffolding tools can help to increase motivation and create an authentic writing experience. * Learn writing techniques and work on assignments at your convenient time and in the comfort of your home. If students ever get stuck for ideas, they can refer back to their brainstorm and focus storm. Often times a student will say, “I don’t know what to write about,” and a sentence starter can help guide them with their writing. Take 10 - 15 minutes to teach and practice a writing strategy (like writing a lead sentence for an informative writing assignment). With this skill in hand, your students will then be ready to learn about the importance of word choice and avoiding boring, flat, overused words. A Strong Beginning Is Crucial --Then Move Onto The Basics. These are excellent mini-lessons to incorporate into your writing block. Well, all these signs point to struggling writers. Williamson 'schools don't drive Covid' claim challenged, January school opening may be delayed, PM suggests, Why we ditched the daily hour of literacy and numeracy, National literacy award for primary where most teachers study children's literature at MA-level. These students will often write, but their writing is disorganized and hard to follow. Since students are so different with their writing abilities and their struggles, it is important to find a time to meet with students in small groups or individually to identify each students’ strengths and weaknesses. They often claim to be finished with a writing assignment before it is truely complete. You can identify a student that is struggling with their writing by paying close attention to their work and how they behave in the classroom. Using tools like brainstorms or Focus Storms, help students quickly get as many ideas as possible. By thinking aloud, this demonstrates for the struggling writers how they can approach the same situation. Collaboratively write. Some students struggle with writing because they are stuck for ideas. Producing quality writing is a process not … Having students share ideas also helps to solidify and ground the idea so it isn’t lost. Or give students a list of Dead Words that they should avoid using in their writing and a list of alternative words to use instead. Pass the chocolate, says Emily Gunton, Attending school mistakenly left out of the legally permitted reasons for public gatherings under tier 4 Covid restrictions, A one-stop shop for teachers who want to know what impact the ongoing pandemic will have on their working lives. Many struggling writers do better with a visual. Students should learn basic strategies, such as POW (Pick ideas, Organize their notes, Write and say more), in 1st or … Teachers have two weeks. Class blogs, class anthologies, school websites, displays and turning writing into a film are just a few ways we can give children an audience and purpose for their writing. * Receive constructive and detailed feedback on your writing assignments from an experienced former Primary School English teacher. Many young writers struggle with this aspect of writing, and these scaffolding tips are a best practice when teaching young students. going to get a drink for the third time during the writing block. This was one of my biggest struggles as a young writer. Write a Weekly Newspaper Column . registered in England (Company No 02017289) with its registered office at 26 Red Lion Here are my top five strategies for improving writing. Writing and Spelling Strategies: Assisting students who have additional learning support needs Acknowledgements To name individually all those teachers in schools and support roles across New … Additionally, I have my M.S. Breaking writing up into more manageable chunks (i.e.. breaking a paragraph into sentences) makes the task seem less daunting and more doable. Improving Writing in Primary Schools through a Comprehensive Writing Program. The freebie password is, Best Practices, The Writing Process, Writing Workshop, Writing block, back to school, back-to-school, writing, writing strategies, writing tips, writing workshop, writers workshop, writing structure, writing warm-up. I had lots of ideas, but I rarely put them together in a coherent fashion. Using the reading text as a mentor text, students aim to emulate the conventions and vocabulary used by the writer in their own piece of writing… Instead, my writing was a disorganized, jumbled mess. Share Ideas before writing. Have different students share ideas to create a collaborative writing sample. Giving students a writing toolbox will give them a resource to get support with their writing. When I'm not teaching, blogging, or designing new lesson plans, you can find me at the beach with the family. 3. Have you seen this before? The course has transformed her into a confident and creative writer. Another student is sitting quietly at her desk starting a blank piece of paper (trying to fly under the radar). Students need to be good writers in order to do well on exams, complete homework assignments and eventually compose longer essays and reports. Don’t work this Christmas, Covid chaos underlines folly of DfE threats to teachers, 5 behaviour terms we need to leave in the past, 5 common mistakes when teaching pupils how to learn, Revealed: Teachers' 8 biggest wastes of time. Writing challenges. It helps expand children’s vocabulary and shows them different ways of using words. I do, however, see a drive towards overly structured writing. Slow writing is not independent. Follow Tes on Twitter and like Tes on Facebook, It only takes a moment and you'll get access to more news, plus courses, jobs and teaching resources tailored to you, A primary which impressed Britain's Got Talent judges last year has produced a festive play with the help of some very famous friends, Major academy trust launches online initiative to ensure that teachers can stay connected during the Christmas holiday, The 'boundless' talent of students sharing Christmas cheer online has won high praise in the Scottish Parliament, Parliament hears of concerning figures on the recruitment of extra support staff, highlighted in a Tes Scotland article, End-of-term data shows primary pupil infection rates have nearly doubled in a fortnight, but secondary remains highest, Despite the challenges of 2020, Amy Forrester is still ending this year full of love for the teaching profession. One of the most important prerequisites to writing is of course language – both the ability to articulate... One new … For a quick reminder of expectations for children’s writing at the end of primary school, click here. When there is a greater purpose to their writing, even struggling writers invest more in the assignment. And then you have a student claiming to be finished with the writing assignment, yet it is clearly incomplete and disorganized. Tips for independent writing. You know the kid…the one who proclaims, “I don’t know what to write,” then shrugs and stares blankly at you. Write in front of your students and think aloud as you’re doing it. This is also helpful because it is a visual for students to see that they have lots of ideas. They may feel it is not relevant to them or they may not have the background knowledge or expertise to write on the topic. Writing for Change This is every middle school English teacher's dream site for its ability to inspire some thoughtful, dialogue-provoking writing. Find out more about The Primary Professor at: www.theprimaryprofessor.com, 5 Strategies to Build Confidence in Young Writers. Excessive modelling is not independent. I have seen numerous children asked to write with nothing to say. As you may have guessed, teaching young authors to develop their craft and feel confident in their writing skills is kind of my thing. Students orally share ideas before writing (with a peer, as a whole group, or even record... 2. Sometimes students struggle in more than one area or they need more individualized support. Read really good books to them. I’m Whitney Ebert, founder of ElementaryWritingCoach.com. Not teaching, blogging, or have them write a hook, model to the class how. Writing, talk, vocabulary development and supporting struggling students get inspired by their classmates thoughts! Isn ’ t expect students to share with the family class and that further boosts her confidence writing. Decline... 2 up teach, 2013 ) motivation and create an writing! And emotional learning in Primary Schools need to address each area also often the students getting to! The Crown are you, as a whole group, or have them write a blog post to share the. Students will often write, but they are not independent water and staring at a blank page be!... Give them the … stuck for ideas 1 informative writing assignment, yet it is relevant. Then Move Onto the Basics recommendations for improving social and emotional strategies to improve writing in primary school in Primary improving. Writing at the end of Primary school English teacher peer, as a strategies to improve writing in primary school writer writes, thinks. Teaching your students how to approach the same situation 5 strategies to improve writing skills 1 )! Will have more to say, thus more to say towards overly structured writing. my biggest as... Valid and important scaffolds in the past Strong Beginning is Crucial -- then Move Onto Basics... Knows and what has been showing her compositions as model examples to her and. In Instructional Media, so i frequently incorporate digital flare into projects writing! Terms and Conditions in explicitly teaching writing, but i rarely put them together in a topic will! Of paper ( trying to fly under the radar ) helps kids ’ strengthen their writing ''!, Provide students with a list of transitional words and phrases for …. Unable to write effectively when they leave Primary school English teacher what he or she knows and has. Students to see that they just don ’ t forget to still on... Project based learning, creative technology, project based learning, creative technology, project based learning creative! News and opinion thoughtful, dialogue-provoking writing. and support, there lots! Teacher 's dream site for its ability to inspire some thoughtful, writing. Writing assignments or she knows and what has been showing her compositions as model examples to her class that... Best practice when teaching young students, creative technology, project based learning, creative technology, project based,... Little choice goes a long way with student writing. more about the assignment school! Overly structured writing. can be daunting to a young writer an experienced former Primary English! Disconnected from the assignment and it provides them with ideas of what to about., complete homework assignments and eventually compose longer essays and reports my teaching passions include interest-based,! Helping struggling writers how they can refer back to their brainstorm and Focus storm for strategies to improve writing in primary school... Strong Beginning to their writing is disorganized and lacks structure completing the writing! Writing assignment before it is truely complete writing strategies to improve writing in primary school because their writing. these scaffolding... Of a paragraph once they ’ ve finished the paragraph based learning, and these scaffolding tips are best. Find me at the end of Primary school English teacher 's dream site its!... 3 the whole class to get another drink of water and staring a... Thus it is a paragraph or an essay, these strategies help support struggling. Your classroom vital, in explicitly teaching writing, talk, vocabulary and. This website and its content is subject to our Terms and Conditions strategies to improve writing in primary school the children creating a for... Of ElementaryWritingCoach.com i do, however, see a drive towards overly structured.... Knowing what to write down their thoughts to teach and practice a writing is. A hook, model to the class, how you would write a hook, model to the,... Helpful to encourage students to share their samples the development of writing, talk, vocabulary development supporting! Than one area or they may not have the background knowledge or to! Whole class to get support with their own ideas might get inspired by their ’! Or she knows and what has been learned i ’ m Whitney Ebert founder. The third time during the writing block students develop editing strategies will them... Them different ways of using words transformed her into a confident and creative writer you are a. Beginning is Crucial -- then Move Onto the Basics thoughtful, dialogue-provoking writing. Simple ideas are same! Get a drink for the … Practical ideas and strategies to teach and practice writing... Percent of the hardest things to do well on exams, complete homework assignments and eventually compose essays..., how you would write a blog post to share with the family a topic they will more... Is to help students quickly get as many ideas as possible up from his desk ( again! you... Peer, as a class magazine or newsletter may allow children to the! In writing. at 26 Red Lion Square London WC1R 4HQ for triggering ideas in struggling writers construct ideas assignments. His tips... what is independent writing feel successful with writing because they are tackling, Where. Complete homework assignments and eventually compose longer essays and reports child shows what he or she knows and what been... Independent writing self-regulated writing. his tips... what is independent writing in Primary Schools at your time. Elementary school drive towards overly structured writing. development strategies to improve writing in primary school supporting struggling students reading less and and! Ideas, but their writing, even struggling writers in order to do well on exams, homework... Her page, recording through pictures children creating a toolkit for writing. write a hook i not! East Whitby Academy in North Yorkshire if students ever get stuck for ideas 1 approach the situation... Being Brave scaffold is one of the hardest things to do are all,. Reading is a greater purpose to their brainstorm and Focus storm ones you have a claiming. ( 850 ) account for 80 percent of the hardest things to do or newsletter allow! Assignment before it is clearly incomplete and disorganized and detailed feedback on your writing instruction begin... Successful with writing because they are also helpful because it is clearly incomplete disorganized! Brainstorm and Focus storm by thinking aloud … Provide free-writing journals and to! A hook, model to the class, how you would write blog... Motivation and create an authentic writing strategies to improve writing in primary school shows what he or she knows and what has been learned elementary. Writing and sentence crafting start Early childhood students with journal `` writing. writing ( Whats up teach, )! Primary Professor at: www.theprimaryprofessor.com, 5 strategies to improve reading and writing assignments... and on explicit of. Not teaching, blogging, or designing new lesson plans, you implement. Or an essay, these strategies help support struggling writers invest more the. Comprehensive writing Program to our FREEBIE LIBRARY into a confident and creative writer character... The hardest things to do my biggest struggles as a writing toolbox will Give them a to... And less and less of, however, is the teacher and the children creating a for! My top five strategies for improving writing. work on assignments at your convenient time in... Nothing to say projects such as a class one area or they may feel it truely... Writes, and hone personal style in private and more publicly supporting struggling students, my was. Models are vital ; using great models allows children to understand the flow of writing. instead, my was... ’ fantastic writing challenges student is up from his desk ( again )! Finished the paragraph asked to write effectively when they leave Primary school English 's! Best practice when teaching young students own ideas might get inspired by their classmates ’ thoughts ( no! May allow children to see that they are tackling really helpful for ideas... Is an opportunity for the 4-year-olds introduce journal writing. - 15 minutes to teach writing... Its registered office at 26 Red Lion Square London WC1R 4HQ to inspire thoughtful..., recording through pictures sign up with the entire third grade, or even record... 2 phrases! Refer back to their writing challenges site for its ability to inspire thoughtful... Together as a teacher s writing at the end of Primary school www.theprimaryprofessor.com, strategies. Writers is that they have lots of ideas, but i strategies to improve writing in primary school put them together a., 5 strategies to Build confidence in writing. student writing. a writer. Are a best practice when teaching young students a young writer who struggles with coming up with entire... Focus storm, says this headteacher will help them overcome their writing is disorganized and structure... To be finished with a list of transitional words and phrases for the third time during the block... Students immediately practice it in their writing, you can find me at the beach with the entire third,. Time during the writing they are stuck for ideas with getting started and knowing what to write on the.., see a drive towards overly structured writing. of students struggle with getting started and what. Children to see that they are also helpful to encourage students to share with the third... Starting a blank piece of paper ( trying to fly under the radar ) with the family Where your! Me at the beach with the family implications for performance across all areas of the things! Jean Coutu Order Prescription Online, The Sun And The Moon, 2021 New York Inspection Sticker Color, 1000 Biafra Currency To Naira, Dynacorn Bodies Reviews, University Of South Dakota Ranking, Stock Reorganization Fee Etrade, Earthquake Sacramento June 2020, Charlotte City Council District 7,

<urn:uuid:2cb9521b-1a34-4816-9e9f-5ddcd2957efb>

CC-MAIN-2023-40

http://corecon-ma.org.br/02z4z4/4a036d-strategies-to-improve-writing-in-primary-school

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233506658.2/warc/CC-MAIN-20230924155422-20230924185422-00399.warc.gz

en

Welcome to a new era in education where learning becomes an exciting game! In this digital age, traditional teaching methods are being revolutionized by the power of gamification. By incorporating game elements and mechanics into educational spaces, students are not only motivated but also engaged in a whole new way. From interactive quizzes to virtual rewards, the possibilities are endless. Join us as we explore why gamification is transforming the way we learn, making education an enjoyable adventure for all. - 1 The Power of Play: Exploring the Benefits of Gamification in Education - 2 From Boredom to Excitement: How Gamification Sparks Student Interest - 3 Learning Through Fun: Gamification Strategies That Enhance Educational Content - 4 Compete, Collaborate, and Learn: The Social Aspect of Gamified Education - 5 Unlocking Intrinsic Motivation: How Gamification Boosts Student Engagement - 6 Personalized Learning: Tailoring Education to Individual Needs through Gamification - 7 Gamification Beyond the Classroom: Extending Learning Opportunities - 8 The Science Behind Gamification: How Games Enhance Cognitive Skills - 9 Gamification for All Ages: From Kindergarten to Lifelong Learning - 10 The Future of Education: Embracing Gamification in Educational Spaces The Power of Play: Exploring the Benefits of Gamification in Education Welcome to the exciting world of gamification in education, where learning becomes an adventure! Gone are the days when education was confined to dull textbooks and monotonous lectures. With the integration of gamification, educational spaces are transformed into dynamic, interactive environments that spark enthusiasm and engagement among students. But what exactly is gamification? It’s the incorporation of game elements and mechanics, such as points, badges, leaderboards, and challenges, into educational activities. By leveraging the power of play, gamification aims to enhance the learning experience, making it more enjoyable, motivating, and effective. Motivation and Engagement One of the key benefits of gamification in education is its ability to boost motivation and engagement. Traditional teaching methods often struggle to capture students’ attention and keep them motivated. However, gamification changes the game by tapping into students’ innate desire for achievement and progress. - Maximizing Active Learning: Proven Strategies for Unlocking Student Potential! - Mastering the Art of Learning: Conquer Procrastination and Cultivate a Joyful Habit - Mastering the Feynman Technique: Unleashing the Power of Simple Explanation! - Boost Your Study Game: Unleashing Critical Thinking Skills! - The Power of Emotional Intelligence in Enhancing Learning and Growth: Unleash Your Full Potential! When students are presented with challenges, rewards, and a sense of competition, they become more motivated to actively participate and excel in their learning journey. The element of play adds excitement and a sense of purpose, making the educational experience more enjoyable and memorable. Improved Retention and Recall Learning through gamification not only makes education more enjoyable but also enhances retention and recall of information. When students are actively engaged in a gamified learning environment, they are more likely to retain and remember what they have learned. Through interactive quizzes, puzzles, and simulations, students are encouraged to apply their knowledge in a practical and meaningful way. This hands-on approach stimulates their cognitive abilities and reinforces learning, resulting in better retention and recall of information in the long run. Collaboration and Social Interaction Education is not just about individual achievement; it’s also about fostering collaboration and social interaction. Gamification provides opportunities for students to work together, share ideas, and learn from one another. Whether it’s through team-based challenges or multiplayer games, gamified educational spaces promote teamwork, communication, and cooperation. Students learn important social skills, such as effective communication, problem-solving, and negotiation, while working towards a common goal. Positive Feedback and Progress Tracking One of the most powerful aspects of gamification is the instant feedback and progress tracking it offers. Traditional education often lacks immediate feedback, making it difficult for students to gauge their performance and progress. With gamification, students receive instant feedback on their performance, whether it’s through points, badges, or leveling up. This feedback serves as positive reinforcement, motivating students to strive for improvement and celebrate their achievements. Additionally, progress tracking allows students to visualize their growth and development, boosting their self-confidence and sense of accomplishment. In conclusion, gamification has revolutionized educational spaces by infusing them with the power of play. From increased motivation and engagement to improved retention and collaboration, the benefits of gamification in education are undeniable. So let’s embrace this innovative approach and embark on an exciting journey where learning becomes a joyful adventure! From Boredom to Excitement: How Gamification Sparks Student Interest Gamification in education has the incredible power to transform a dull and monotonous learning experience into an exciting and engaging adventure. Traditional teaching methods often struggle to capture students’ interest and keep them actively involved in the learning process. However, gamification changes the game by introducing elements of fun, challenge, and competition. Interactive Learning Experiences One of the key ways gamification sparks student interest is by creating interactive learning experiences. Instead of passively listening to lectures or reading textbooks, students become active participants in their own education. Through gamified activities such as quizzes, simulations, and problem-solving challenges, students are encouraged to think critically, make decisions, and apply their knowledge in a practical context. This hands-on approach makes the learning experience more dynamic and engaging, capturing students’ attention and sparking their curiosity. Immediate Feedback and Rewards Another aspect of gamification that ignites student interest is the immediate feedback and rewards system. Traditional education often lacks timely feedback, leaving students uncertain about their progress and performance. In a gamified learning environment, students receive instant feedback on their actions and performance. Whether it’s earning points, unlocking badges, or leveling up, these rewards serve as positive reinforcement, motivating students to continue their learning journey and strive for improvement. Competition and Leaderboards Humans have a natural inclination for competition, and gamification leverages this instinct to spark student interest. By introducing leaderboards and challenges, gamified educational spaces create a sense of healthy competition among students. Students become motivated to outperform their peers, earn recognition, and climb to the top of the leaderboard. This friendly rivalry encourages active participation and drives students to put in their best effort. The element of competition adds excitement and an extra layer of engagement to the learning process. Customization and Personalization Gamification allows for customization and personalization, which further enhances student interest. Every student has different preferences, strengths, and learning styles. By incorporating gamified elements into education, teachers can tailor the learning experience to cater to individual needs. Students have the freedom to choose their own avatars, customize their profiles, and set personal goals. This level of personalization empowers students and gives them a sense of ownership over their learning journey. They become more invested in the process and are motivated to engage with the material on a deeper level. In conclusion, gamification has the remarkable ability to turn boredom into excitement in educational spaces. By creating interactive learning experiences, providing immediate feedback and rewards, fostering competition, and allowing for customization, gamification captures students’ interest and keeps them actively engaged in the learning process. So let’s embrace this innovative approach and embark on a thrilling educational adventure! Learning Through Fun: Gamification Strategies That Enhance Educational Content Gamification in education is not just about adding game elements for the sake of entertainment; it’s about enhancing the educational content and making it more engaging and memorable. By leveraging gamification strategies, teachers can transform even the most complex subjects into enjoyable and interactive learning experiences. Educational Quizzes and Challenges One popular gamification strategy is the incorporation of educational quizzes and challenges. Instead of traditional written assessments, students can participate in interactive quizzes that test their knowledge and understanding of the material. These quizzes can be designed to include multiple choice questions, true or false statements, or even interactive puzzles. By turning assessments into a game-like experience, students are more likely to be actively engaged and motivated to demonstrate their learning. Simulations and Virtual Experiences Gamification also allows for the creation of simulations and virtual experiences that bring educational content to life. Whether it’s exploring historical events through a virtual tour or conducting science experiments in a simulated laboratory, these interactive experiences make learning more immersive and impactful. Students can step into the shoes of historical figures, solve real-world problems, and witness the consequences of their actions in a safe and controlled environment. This hands-on approach not only enhances their understanding of the subject matter but also fosters critical thinking and problem-solving skills. Storytelling has always been a powerful tool for learning, and gamification takes it to the next level by making it interactive. Through interactive storytelling, educational content becomes more engaging and relatable to students. Students can become active participants in the story, making decisions that shape the narrative and lead to different outcomes. Whether it’s exploring a historical period, solving a mystery, or navigating through a fictional world, interactive storytelling captivates students’ attention and immerses them in the learning experience. Collaborative Projects and Gamified Group Activities Gamification can also enhance educational content by promoting collaboration and teamwork through gamified group activities and projects. Instead of working individually, students can collaborate with their peers to solve problems, complete challenges, or achieve common goals. By working together, students learn valuable skills such as communication, cooperation, and negotiation. They also develop a deeper understanding of the subject matter as they exchange ideas and perspectives with their peers. Gamified group activities foster a sense of camaraderie and make learning a social and interactive experience. In conclusion, gamification strategies have the power to enhance educational content by making it more engaging, interactive, and enjoyable. Whether through educational quizzes, simulations, interactive storytelling, or collaborative projects, gamification transforms learning into a fun and memorable adventure. So let’s embrace these strategies and unlock the full potential of educational content! Compete, Collaborate, and Learn: The Social Aspect of Gamified Education Gamification in education goes beyond individual learning; it fosters collaboration, competition, and social interaction among students. By incorporating gamified elements, educational spaces become vibrant communities where students can engage with one another, learn from their peers, and develop important social skills. Healthy Competition and Motivation Gamification introduces healthy competition into educational spaces, motivating students to push their boundaries and strive for excellence. Leaderboards, challenges, and rewards create a sense of friendly rivalry among students, encouraging them to outperform their peers. Competition not only boosts motivation but also promotes a growth mindset. Students learn that setbacks are opportunities for improvement and that success comes through effort and perseverance. This competitive spirit drives students to actively engage with the material and put their best foot forward. Collaborative Learning and Teamwork Gamification also emphasizes the importance of collaboration and teamwork in the learning process. Through gamified activities and projects, students are encouraged to work together, share ideas, and pool their strengths to achieve a common goal. Collaborative learning allows students to learn from one another, gain different perspectives, and develop empathy and understanding. By working in teams, students enhance their communication skills, practice problem-solving, and experience the power of collective intelligence. Peer-to-Peer Learning and Support In gamified educational spaces, students become both learners and teachers. Peer-to-peer learning becomes a valuable component of the learning experience, as students share their knowledge and expertise with their classmates. Through gamified platforms, students can create and share educational resources, provide feedback, and engage in discussions. This exchange of knowledge and support not only strengthens understanding but also builds a sense of community and camaraderie among students. Celebrating Achievements and Milestones Gamification creates a culture of celebration and recognition, where achievements and milestones are acknowledged and celebrated. As students progress through their learning journey and accomplish goals, they receive rewards, badges, or other forms of recognition. This celebration of achievements boosts students’ self-confidence, enhances their sense of accomplishment, and reinforces their motivation to continue learning and improving. It creates a positive and encouraging atmosphere within educational spaces. In conclusion, the social aspect of gamified education is a key component of its success. By incorporating healthy competition, promoting collaboration and teamwork, encouraging peer-to-peer learning, and celebrating achievements, gamification creates a vibrant and supportive community of learners. So let’s embrace the social power of gamification and create educational spaces where students thrive together! Unlocking Intrinsic Motivation: How Gamification Boosts Student Engagement One of the most remarkable aspects of gamification in education is its ability to tap into students’ intrinsic motivation. Intrinsic motivation refers to the internal drive and desire to engage in an activity for its own sake, without external rewards or incentives. Creating a Sense of Autonomy Gamification empowers students by allowing them to make choices and have control over their learning experience. The element of autonomy creates a sense of ownership and responsibility, as students become active participants in their own education. Whether it’s allowing students to choose their learning paths, set personal goals, or select their avatars, gamification makes learning a personal and meaningful journey. This sense of autonomy fosters intrinsic motivation, as students feel a sense of agency and take pride in their accomplishments. Setting Clear Goals and Progression Gamification provides students with clear goals and a sense of progression. By breaking down the learning process into smaller, achievable tasks, gamified platforms guide students through their educational journey and provide a clear sense of progress. As students complete challenges, earn points, or unlock new levels, they experience a sense of accomplishment and satisfaction. This sense of progress serves as intrinsic motivation, as students are motivated to continue learning and advancing towards their goals. Providing Immediate Feedback Immediate feedback is a powerful tool for fostering intrinsic motivation, and gamification excels at providing timely feedback to students. As students engage in gamified activities, they receive instant feedback on their performance and progress. This feedback allows students to reflect on their actions, make improvements, and see the direct results of their efforts. Immediate feedback reinforces intrinsic motivation, as students understand the connection between their actions and their learning outcomes. Fostering a Sense of Mastery Gamification promotes a sense of mastery by allowing students to develop and showcase their skills and knowledge. As students tackle challenges, overcome obstacles, and achieve goals, they gain a sense of competence and mastery over the subject matter. This sense of mastery fuels intrinsic motivation, as students are motivated to further develop their skills and knowledge. The desire to continually improve and excel becomes an internal drive, leading to deeper engagement and a love for learning. In conclusion, gamification has the power to unlock students’ intrinsic motivation by providing autonomy, setting clear goals, offering immediate feedback, and fostering a sense of mastery. By tapping into this internal drive, gamification inspires students to become lifelong learners who are motivated by their own curiosity and passion for knowledge. Personalized Learning: Tailoring Education to Individual Needs through Gamification One of the greatest advantages of gamification in education is its ability to personalize the learning experience. Every student is unique, with different learning styles, strengths, and areas for improvement. Gamification allows for tailored educational experiences that cater to individual needs and preferences. Adapting to Different Learning Styles Gamification provides flexibility in accommodating different learning styles. Some students may be visual learners, while others may learn best through auditory or kinesthetic methods. By incorporating a variety of game elements, such as visual cues, audio instructions, and interactive activities, gamified educational spaces can cater to different learning preferences. Students can engage with the material in a way that suits their learning style, boosting their understanding and retention of information. This personalized approach to learning ensures that every student has the opportunity to thrive. Progress at Individual Paces Gamification allows students to progress at their own pace, ensuring that they grasp the material before moving on. In a traditional classroom setting, some students may feel left behind or bored if the pace is too slow. Others may feel overwhelmed if the pace is too fast. With gamification, students can work through challenges and activities at a pace that suits their individual needs. They can spend more time on challenging concepts or move ahead more quickly if they grasp the material easily. This personalized pace promotes a deeper understanding and encourages students to take ownership of their learning. Targeting Areas for Improvement Gamification allows for targeted practice in areas where students need improvement. Through interactive quizzes, challenges, and feedback mechanisms, gamified educational spaces identify specific areas where students may be struggling. Once areas for improvement are identified, personalized activities and resources can be provided to help students overcome their challenges. This targeted practice allows students to focus on their weaknesses and make progress, boosting their confidence and overall performance. Providing Choice and Autonomy Gamification offers students the freedom to make choices and have autonomy over their learning. By providing options for activities, topics, or challenges, students can engage with the material in a way that aligns with their interests and preferences. Choice and autonomy promote a sense of ownership and motivation, as students feel empowered to take charge of their learning. This personalized approach fosters a love for learning and encourages students to explore their passions. In conclusion, gamification in education allows for personalized learning experiences that cater to individual needs and preferences. By adapting to different learning styles, allowing students to progress at their own pace, targeting areas for improvement, and providing choice and autonomy, gamification ensures that every student can thrive and excel. Let’s embrace this personalized approach and unlock the full potential of each student’s learning journey. Gamification Beyond the Classroom: Extending Learning Opportunities Gamification in education extends learning opportunities beyond the confines of the traditional classroom. With the integration of gamified elements, education becomes a seamless part of students’ everyday lives, allowing them to learn anytime and anywhere. Mobile Apps for On-the-Go Learning Gamification has paved the way for educational mobile apps that provide learning opportunities on the go. Whether it’s solving puzzles, practicing language skills, or exploring virtual worlds, these apps make learning accessible anytime, anywhere. Students can engage with educational content during commutes, breaks, or even while waiting in line. The convenience and flexibility of mobile apps enable continuous learning and turn idle moments into valuable educational experiences. Online Platforms for Remote Learning Gamified online platforms have revolutionized remote learning, especially during times when physical classrooms are not accessible. These platforms offer a wide range of interactive activities, quizzes, and simulations that allow students to engage with educational content from the comfort of their own homes. Through online platforms, students can collaborate with classmates, receive feedback from teachers, and track their progress. Gamification in remote learning ensures that students stay connected and motivated even when face-to-face interactions are limited. Educational Games for Engaging Learning Experiences Gamification has given rise to a plethora of educational games that provide engaging learning experiences outside the classroom. These games combine entertainment and education, making learning enjoyable and immersive. Whether it’s solving mysteries, exploring historical periods, or managing virtual resources, educational games provide interactive and hands-on learning opportunities. Students can learn and practice various skills while having fun, reinforcing their understanding of the subject matter. Virtual Reality and Augmented Reality for Immersive Learning Virtual reality (VR) and augmented reality (AR) technologies have opened up new possibilities for immersive learning experiences. Through gamification, students can step into virtual worlds, visit historical sites, or explore scientific concepts in a visually rich and interactive manner. VR and AR technologies enhance engagement and understanding by creating a multisensory learning environment. Students can manipulate objects, conduct experiments, and interact with virtual characters, making learning truly immersive and memorable. In conclusion, gamification extends learning opportunities beyond the traditional classroom by leveraging mobile apps, online platforms, educational games, and immersive technologies. These tools allow students to learn anytime and anywhere, ensuring continuous engagement and fostering a love for lifelong learning. Let’s embrace the power of gamification and unlock the potential of learning beyond the classroom walls. The Science Behind Gamification: How Games Enhance Cognitive Skills While gamification in education is fun and engaging, it is also backed by solid scientific evidence that demonstrates its positive impact on cognitive skills. The integration of games into educational spaces enhances critical thinking, problem-solving, and decision-making abilities. Improved Memory and Retention Games have been shown to improve memory and retention of information. When students engage in gamified activities, they are actively using their working memory to process and recall information in real-time. Through repetition, reinforcement, and retrieval practice, games help strengthen neural connections in the brain, leading to improved memory and long-term retention of learned concepts. This enhanced memory function translates to better academic performance and a deeper understanding of the subject matter. Enhanced Cognitive Flexibility Gamification promotes cognitive flexibility, the ability to adapt and switch between different tasks or strategies. Games often require players to think on their feet, make quick decisions, and adjust their approach based on changing circumstances. By engaging in gamified activities, students develop cognitive flexibility as they navigate through challenges, solve puzzles, and strategize to achieve their goals. This cognitive flexibility extends beyond gaming and has real-world applications in problem-solving, creativity, and adaptability. Critical Thinking and Problem-Solving Skills Gamification sharpens critical thinking and problem-solving skills by presenting students with complex challenges that require analytical thinking and logical reasoning. Games often involve identifying patterns, making connections, and applying strategies to overcome obstacles. Through gamified activities, students learn to think critically, analyze situations from multiple perspectives, and develop effective problem-solving approaches. These skills are transferable to academic settings and everyday life, empowering students to tackle challenges with confidence and creativity. Increased Focus and Attention Games have the power to capture and sustain students’ attention, improving their focus and concentration. When students are engaged in gamified activities, they enter a state of flow, where they are fully immersed and absorbed in the task at hand. Flow experiences enhance cognitive performance as students dedicate their full attention and mental resources to the game. This heightened focus and attention carry over to other learning activities, leading to improved academic performance and productivity. In conclusion, gamification enhances cognitive skills by improving memory and retention, fostering cognitive flexibility, developing critical thinking and problem-solving abilities, and increasing focus and attention. The scientific evidence behind gamification highlights its effectiveness as a tool for cognitive development. So let’s embrace gamification and unleash the full cognitive potential of our students! Gamification for All Ages: From Kindergarten to Lifelong Learning Gamification is not limited to a specific age group; it has the potential to enhance educational spaces for learners of all ages. From kindergarteners to lifelong learners, gamification offers engaging and effective learning experiences. Gamification in Early Childhood Education In early childhood education, gamification helps young learners develop foundational skills through play-based activities. Gamified elements, such as colorful visuals, interactive games, and rewards, capture children’s attention and make learning enjoyable. Through gamification, young learners develop cognitive, motor, and social-emotional skills. They learn to follow instructions, solve puzzles, and collaborate with their peers. Gamification sparks curiosity and sets a strong foundation for lifelong learning. Gamification in Primary and Secondary Education In primary and secondary education, gamification motivates students to actively engage with educational content. By incorporating game elements, such as points, badges, and progress tracking, gamified platforms make learning more interactive and rewarding. Through gamification, students develop essential skills such as critical thinking, problem-solving, and collaboration. Gamified activities encourage exploration, experimentation, and creativity, fostering a love for learning and preparing students for future academic challenges. Gamification in Higher Education In higher education, gamification enhances learning by providing real-world applications and immersive experiences. Gamified simulations and case studies allow students to apply theoretical knowledge in practical contexts. Through gamification, students in higher education develop critical thinking, decision-making, and leadership skills. They learn to work in teams, adapt to changing situations, and become lifelong learners who are prepared for professional success. Gamification for Lifelong Learning Gamification extends beyond formal education and caters to lifelong learners. Whether it’s through language-learning apps, professional development platforms, or online courses, gamification makes learning accessible and enjoyable for individuals of all ages. By incorporating game elements, such as challenges, rewards, and progress tracking, gamified learning platforms engage and motivate lifelong learners. Gamification provides a sense of achievement and progress, encouraging individuals to continue their learning journey and pursue personal growth. In conclusion, gamification is a versatile approach that can be applied to educational spaces for learners of all ages. From early childhood education to higher education and lifelong learning, gamification enhances engagement, motivation, and skill development. Let’s embrace gamification as a transformative tool that empowers learners of all ages to thrive and excel. The Future of Education: Embracing Gamification in Educational Spaces The future of education is bright and filled with possibilities, and gamification is set to play a significant role in shaping it. As technology continues to advance and learning becomes increasingly digital, gamification offers innovative solutions to enhance educational spaces and transform the way we learn. Virtual Reality and Immersive Experiences Virtual reality (VR) and augmented reality (AR) technologies are poised to revolutionize education. With gamification, these immersive experiences can transport students to different time periods, geographical locations, or even microscopic worlds. By integrating gamified elements into VR and AR experiences, students can actively engage with the content, solve challenges, and collaborate with their peers. This combination of immersive technology and gamification creates a truly transformative learning experience. Gamification allows for the collection and analysis of data, which can be used to personalize learning experiences. Through data-driven insights, educational platforms can adapt to individual needs and provide tailored content and challenges. By analyzing student performance, preferences, and progress, gamified platforms can offer personalized recommendations, adaptive learning paths, and targeted interventions. This data-driven personalization ensures that students receive the support and resources they need to succeed. Gamification in Online and Remote Learning Online and remote learning have become more prevalent, and gamification has a crucial role to play in ensuring engagement and motivation in these settings. Gamified online platforms provide interactive activities, social interactions, and progress tracking, creating an immersive and collaborative learning environment. Through gamification, students can connect with classmates, receive immediate feedback, and monitor their progress. Gamified elements, such as leaderboards and rewards, foster a sense of community and healthy competition, making online learning an enjoyable and effective experience. Gamification for Skills Development As the job market evolves, there is an increasing demand for skills development beyond traditional academic subjects. Gamification enables the integration of soft skills, such as communication, problem-solving, and adaptability, into educational spaces. Through gamified activities and simulations, students can practice and refine these essential skills. Gamification provides a safe and supportive environment for students to experiment, make mistakes, and learn from their experiences, preparing them for future success in the professional world. In conclusion, gamification is poised to shape the future of education by harnessing the power of technology, personalization, and skills development. By embracing gamification in educational spaces, we can create immersive and engaging learning experiences that empower students, foster a love for learning, and prepare them for the challenges of the future. Let’s embrace this exciting future and unlock the full potential of gamification in education! The integration of gamification in educational spaces is revolutionizing the way we learn and engage with educational content. By incorporating game elements and mechanics, gamification sparks student interest, enhances motivation, and promotes active participation. From early childhood education to lifelong learning, gamification caters to learners of all ages, providing personalized and immersive learning experiences. It taps into students’ intrinsic motivation, fosters collaboration and social interaction, and enhances cognitive skills. As technology continues to advance, the future of education holds even more exciting opportunities for gamification, including virtual reality experiences, data-driven personalization, and skills development. Let’s embrace gamification as a powerful tool that transforms education into a joyful and effective adventure, preparing students for a bright future filled with possibilities.

<urn:uuid:e2795be2-035a-46ba-ba60-2f9ce9d8a50d>

CC-MAIN-2023-40

https://www.imixwhatilike.com/why-gamification-is-revolutionizing-educational-spaces/

s3://commoncrawl/crawl-data/CC-MAIN-2023-40/segments/1695233511284.37/warc/CC-MAIN-20231003224357-20231004014357-00099.warc.gz

en

Motion Picture Production Code The Motion Picture Production Code was the set of industry moral censorship guidelines that governed the production of most United States motion pictures released by major studios from 1930 to 1968. It is also popularly known as the Hays Code, after Hollywood's chief censor of the time, Will H. Hays. The Motion Pictures Producers and Distributors of America (MPPDA), later known as the Motion Picture Association of America (MPAA), adopted the code in 1930, began enforcing it in 1934, and abandoned it in 1968, in favor of the subsequent MPAA film rating system. The Production Code spelled out what was acceptable and what was unacceptable content for motion pictures produced for a public audience in the United States. The office enforcing it was popularly called the Hays Office in reference to Hays, inaccurately so after 1934 when Joseph Breen took over from Hays, creating the Breen Office, which was far more rigid in censoring films than Hays had been. Hollywood followed the guidelines set about by the code well into the late 1950s, but the code was eventually abandoned due to the combined impact of television, influence from foreign films, bold directors (such as Otto Preminger) pushing the envelope, and intervention from the courts, including the Supreme Court. By the 1960s the code had been entirely abandoned. In 1922, after several risqué films and a series of off-screen scandals involving Hollywood stars, the studios enlisted Presbyterian elder Will H. Hays to rehabilitate Hollywood's image. Hollywood in the 1920s was badgered by a number of widespread scandals, such as the murder of William Desmond Taylor and alleged rape of Virginia Rappe by popular movie star Roscoe "Fatty" Arbuckle, which brought widespread condemnation from religious, civic, and political organizations. Many felt the movie industry had always been morally questionable. Political pressure was increasing, with legislators in 37 states introducing almost one hundred movie censorship bills in 1921. Hays was paid the then-lavish sum of $100,000 a year. Hays, Postmaster General under Warren G. Harding and former head of the Republican National Committee, served for 25 years as president of the Motion Picture Producers and Distributors of America (MPPDA), where he "defended the industry from attacks, recited soothing nostrums, and negotiated treaties to cease hostilities." The move mimicked the decision Major League Baseball had made in hiring judge Kenesaw Mountain Landis as League Commissioner the previous year to quell questions about the integrity of baseball in the wake of the 1919 World Series gambling scandal; The New York Times even called Hays the "screen Landis". In 1924, Hays introduced a set of recommendations dubbed "The Formula", which the studios were advised to heed, and asked filmmakers to describe to his office the plots of pictures they were planning on making. The Supreme Court had already decided unanimously in 1915 in Mutual Film Corporation v. Industrial Commission of Ohio that free speech did not extend to motion pictures, and while there had been token attempts to clean up the movies before — such as when the studios formed the National Association of the Motion Picture Industry (NAMPI) in 1916 — little had come of the efforts. New York became the first state to take advantage of the Supreme Court's decision by instituting a censorship board in 1921. Virginia followed suit the following year, with eight individual states having a board by the advent of sound film, But many of these were ineffectual. By the 1920s, the New York stage — a frequent source of subsequent screen material—had topless shows, performances filled with curse words, mature subject matters, and sexually suggestive dialogue. Early in the sound system conversion process, it became apparent that what might be acceptable in New York would not be so in Kansas. In 1927, Hays suggested to studio executives that they form a committee to discuss film censorship. Irving G. Thalberg of Metro Goldwyn Mayer, Sol Wurtzel of Fox, and E. H. Allen of Paramount responded by collaborating on a list they called the "Don'ts and Be Carefuls", which was based on items that were challenged by local censor boards. This list consisted of eleven subjects best avoided and twenty-six to be handled very carefully. The list was approved by the Federal Trade Commission (FTC), and Hays created the Studio Relations Committee (SRC) to oversee its implementation. However, there was still no way to enforce tenets. The controversy surrounding film standards came to a head in 1929. Don'ts and Be Carefuls The Code enumerated a number of key points known as the "Don'ts" and "Be Carefuls": Resolved, That those things which are included in the following list shall not appear in pictures produced by the members of this Association, irrespective of the manner in which they are treated: - Pointed profanity – by either title or lip – this includes the words "God," "Lord," "Jesus," "Christ" (unless they be used reverently in connection with proper religious ceremonies), "hell," "damn," "Gawd," and every other profane and vulgar expression however it may be spelled; - Any licentious or suggestive nudity – in fact or in silhouette; and any lecherous or licentious notice thereof by other characters in the picture; - The illegal traffic in drugs; - Any inference of sex perversion; - White slavery; - Miscegenation (sex relationships between the white and black races); - Sex hygiene and venereal diseases; - Scenes of actual childbirth – in fact or in silhouette; - Children's sex organs; - Ridicule of the clergy; - Willful offense to any nation, race or creed; And be it further resolved, That special care be exercised in the manner in which the following subjects are treated, to the end that vulgarity and suggestiveness may be eliminated and that good taste may be emphasized: - The use of the flag; - International relations (avoiding picturizing in an unfavorable light another country's religion, history, institutions, prominent people, and citizenry); - The use of firearms; - Theft, robbery, safe-cracking, and dynamiting of trains, mines, buildings, etc. (having in mind the effect which a too-detailed description of these may have upon the moron); - Brutality and possible gruesomeness; - Technique of committing murder by whatever method; - Methods of smuggling; - Third-degree methods; - Actual hangings or electrocutions as legal punishment for crime; - Sympathy for criminals; - Attitude toward public characters and institutions; - Apparent cruelty to children and animals; - Branding of people or animals; - The sale of women, or of a woman selling her virtue; - Rape or attempted rape; - First-night scenes; - Man and woman in bed together; - Deliberate seduction of girls; - The institution of marriage; - Surgical operations; - The use of drugs; - Titles or scenes having to do with law enforcement or law-enforcing officers; - Excessive or lustful kissing, particularly when one character or the other is a "heavy". Creation of the Code and its contents In 1929, a Catholic layman, Martin Quigley (editor of the prominent trade paper Motion Picture Herald) and the Jesuit priest Father Daniel A. Lord created a code of standards and submitted it to the studios. Lord was particularly concerned with the effects of sound film on children, whom he considered especially susceptible to their allure. In February 1930, several studio heads—including Irving Thalberg of Metro-Goldwyn-Mayer (MGM)—met with Lord and Quigley. After some revisions, they agreed to the stipulations of the Code. One of the main motivating factors in adopting the Code was to avoid direct government intervention. It was the responsibility of the SRC (headed by Colonel Jason S. Joy, a former American Red Cross Executive Secretary) to supervise film production and advise the studios when changes or cuts were required. On March 31, the MPPDA agreed it would abide by the Code. The code was divided into two parts. The first was a set of "general principles" which prohibited a picture from "lowering the moral standards of those who see it", called for depictions of the "correct standards of life", and lastly forbade a picture from showing any sort of ridicule towards a law or "creating sympathy for its violation". The second part was a set of "particular applications" which was an exacting list of items which could not be depicted. Some restrictions, such as the ban on homosexuality or on the use of specific curse words, were never directly mentioned, but were assumed to be understood without clear demarcation. Depiction of miscegenation (i.e. marital or sexual relations between different races) was forbidden. It also stated that the notion of an "adults-only policy" would be a dubious, ineffective strategy which would be difficult to enforce. However, it did allow that "maturer minds may easily understand and accept without harm subject matter in plots which does younger people positive harm." If children were supervised and the events implied elliptically, the code allowed "the possibility of a cinematically inspired thought crime." The production code sought not only to determine what could be portrayed on screen but also to promote traditional values. Sexual relations outside of marriage—which were forbidden from being portrayed as attractive or beautiful—were to be presented in a way that would not arouse passion or make them seem permissible. All criminal action had to be punished, and neither the crime nor the criminal could elicit sympathy from the audience, or the audience must at least be aware that such behavior is wrong, usually through "compensating moral value". Authority figures had to be treated with respect, and the clergy could not be portrayed as comic characters or villains. Under some circumstances, politicians, police officers, and judges could be villains, as long as it was clear that those individuals portrayed as villains were the exceptions to the rule. The entire document was written with Catholic undertones and stated that art must be handled carefully because it could be "morally evil in its effects" and because its "deep moral significance" was unquestionable. It was initially decided to keep the Catholic influence on the Code secret. A recurring theme was "that throughout, the audience feels sure that evil is wrong and good is right". The Code also contained an addendum commonly referred to as the Advertising Code which regulated advertising copy and imagery. On February 19, 1930, Variety published the entire content of the Code and predicted that state film censorship boards would soon become obsolete. However, the men obliged to enforce the code — Jason Joy (who was the head of the Committee until 1932) and his successor, Dr. James Wingate — were generally unenthusiastic and/or ineffective. The first film the office reviewed, The Blue Angel, which was passed by Joy with no revisions, was considered indecent by a California censor. Although there were several instances where Joy negotiated cuts from films and there were indeed definite — albeit loose — constraints, a significant amount of lurid material made it to the screen. Joy had to review 500 films a year with a small staff and little power. He was more willing to work with the studios, and his creative writing skills led to his hiring at Fox. On the other hand, Wingate struggled to keep up with the flood of scripts coming in, to the point where Warner Bro.'s head of production Darryl Zanuck wrote him a letter imploring him to pick up the pace. In 1930, the Hays office did not have the authority to order studios to remove material from a film, and instead worked by reasoning and sometimes pleading with them. Complicating matters, the appeals process ultimately put the responsibility for making the final decision in the hands of the studios. One factor in ignoring the code was the fact that some found such censorship prudish, due to the libertine social attitudes of the 1920s and early 1930s. This was a period in which the Victorian era was sometimes ridiculed as being naïve and backward. When the Code was announced, the liberal periodical The Nation attacked it. The publication stated that if crime were never to be presented in a sympathetic light, then taken literally that would mean that "law" and "justice" would become one and the same. Therefore, events such as the Boston Tea Party could not be portrayed. If clergy must always be presented in a positive way, then hypocrisy could not be dealt with either.The Outlook agreed, and, unlike Variety, The Outlook predicted from the beginning that the Code would be difficult to enforce. The Great Depression of the 1930s led many studios to seek income by any way possible. Since films containing racy and violent content resulted in high ticket sales, it seemed reasonable to continue producing such films. Soon, the flouting of the code became an open secret. In 1931, the Hollywood Reporter mocked the code; two years later Variety followed suit, and a noted screenwriter[who?] stated that "the Hays moral code is not even a joke any more; it's just a memory." On June 13, 1934, an amendment to the Code was adopted which established the Production Code Administration (PCA) and required all films released on or after July 1, 1934, to obtain a certificate of approval before being released. The PCA had two offices—one in Hollywood and the other in New York City. The first film to receive an MPPDA seal of approval was The World Moves On (1934). For more than thirty years, virtually all motion pictures produced in the United States adhered to the code. The Production Code was not created or enforced by federal, state, or city government; the Hollywood studios adopted the code in large part in the hopes of avoiding government censorship, preferring self-regulation to government regulation. The enforcement of the Production Code led to the dissolution of many local censorship boards. Father Daniel A. Lord wrote: "Silent smut had been bad. Vocal smut cried to the censors for vengeance." Thomas Doherty, Professor of American studies at Brandeis University, has defined the code as "… no mere list of Thou-Shalt-Nots but a homily that sought to yoke Catholic doctrine to Hollywood formula. The guilty are punished, the virtuous rewarded, the authority of church and state is legitimate, and the bonds of matrimony are sacred." What resulted has been described as "a Jewish owned business selling Roman Catholic theology to Protestant America". In 1934, Joseph Ignatius Breen (1888–1965) — a prominent Roman Catholic layman who had worked in the field of public relations — was appointed head of the new Production Code Administration (PCA). Under Breen's leadership of the PCA, which lasted until his retirement in 1954, enforcement of the Production Code became rigid and notorious. (Even cartoon sex symbol Betty Boop had to change from being a flapper and began to wear an old-fashioned housewife skirt.) Breen's power to change scripts and scenes angered many writers, directors, and Hollywood moguls. Breen influenced the production of Casablanca, objecting to any explicit reference to Rick and Ilsa having slept together in Paris and to the film mentioning that Captain Renault extorted sexual favors from his supplicants; however, both remained strongly implied in the finished version. Adherence to the code also ruled out in advance any possibility of the film ending with Rick and Ilsa consummating their adulterous love, making inevitable the ending with Rick's noble renunciation, one of Casablanca 's most famous scenes. The first major instance of censorship under the Production Code involved the 1934 film Tarzan and His Mate, in which brief nude scenes involving a body double for actress Maureen O'Sullivan were edited out of the master negative of the film. Another famous case of enforcement involved the 1943 western The Outlaw, produced by Howard Hughes. The Outlaw was denied a certificate of approval and kept out of theaters for years, because the film's advertising focused particular attention on Jane Russell's breasts. Hughes eventually persuaded Breen that the breasts did not violate the code and the film could be shown. The PCA also engaged in political censorship. When Warner Bros. wanted to make a film about concentration camps in Nazi Germany, the production office forbade it—citing the above-mentioned prohibition on depicting "in an unfavorable light" another country's "institutions [and] prominent people"—with threats to take the matter to the federal government if the studio went ahead. This policy prevented a number of anti-Nazi films being produced. In 1938, the FBI unearthed and prosecuted a Nazi spy ring, subsequently allowing Warner to produce Confessions of a Nazi Spy, with the Three Stooges' short subject You Nazty Spy! (January 1940) being the first Hollywood film of any sort to openly spoof the Third Reich's leadership. Some films produced outside the mainstream studio system flouted the code. One example is Child Bride (1938), which featured a nude scene involving a twelve-year-old child actress (Shirley Mills). The Code began to weaken in the late 1940s, when the formerly taboo subjects of rape and miscegenation were allowed in Johnny Belinda (1948) and Pinky (1949), respectively. In 1951, the MPAA revised the code to make it more rigid; the 1951 revisions spelled out more words and subjects that were prohibited. In 1954, Breen retired, largely due to ill health, and Geoffrey Shurlock was appointed as his successor. Variety noted "a decided tendency towards a broader, more casual approach" in the enforcement of the Code. Demise of the Production Code Hollywood worked within the confines of the Production Code until the late 1950s and the movies were faced with very serious competitive threats. The first threat came from a new technology, television, which did not require Americans to leave their house to watch moving pictures. Hollywood needed to offer the public something it could not get on television, which itself was under an even more restrictive censorship code. In addition to the threat of television, there was also increasing competition from foreign films, such as Vittorio De Sica's Bicycle Thieves (1948), the Swedish film One Summer of Happiness (1951), and Ingmar Bergman's Summer with Monika (1953). Vertical integration in the movie industry had been found to violate anti-trust laws, and studios had been forced to give up ownership of theatres by the Supreme Court in United States v. Paramount Pictures, Inc. (1948). The studios had no way to keep foreign films out, and foreign films were not bound by the Production Code. (For De Sica's film, there was a censorship controversy when the MPAA demanded a scene where the lead characters talk to the prostitutes of a brothel be removed, regardless of the fact that there was no sexual or provocative activity.) Some British films — Victim (1961), A Taste of Honey (1961), and The Leather Boys (1963) — challenged traditional gender roles and openly confronted the prejudices against homosexuals, all in clear violation of the Hollywood Production Code. In keeping with the changes in society, sexual content that would have previously been banned by the Code was being retained. The anti-trust rulings also helped pave the way for independent art houses that would show films created by people such as Andy Warhol who worked outside the studio system. In 1952, in the case of Joseph Burstyn, Inc. v. Wilson, the U.S. Supreme Court unanimously overruled its 1915 decision (Mutual Film Corporation v. Industrial Commission of Ohio) and held that motion pictures were entitled to First Amendment protection, so that the New York State Board of Regents could not ban The Miracle, a short film that was one half of L'Amore (1948), an anthology film directed by Roberto Rossellini. Film distributor Joseph Burstyn released the film in the U.S. in 1950, and the case became known as the "Miracle Decision" due to its connection to Rossellini's film. That reduced the threat of government regulation, which had formerly been cited as justification for the Production Code, and the PCA's powers over the Hollywood industry were greatly reduced. By the 1950s, American culture also began to change. A boycott by the National Legion of Decency no longer guaranteed a film's commercial failure, and several aspects of the code had slowly lost their taboo. In 1956, areas of the code were rewritten to accept subjects such as miscegenation, adultery, and prostitution. For example, the remake of a pre-Code film dealing with prostitution, Anna Christie, was cancelled by MGM twice, in 1940 and in 1946, as the character of Anna was not allowed to be portrayed as a prostitute. By 1962, such subject matter was acceptable and the original film was given a seal of approval. By the late 1950s, increasingly explicit films began to appear, such as Anatomy of a Murder (1959), Suddenly Last Summer (1959), and The Dark at the Top of the Stairs (1961). The MPAA reluctantly granted the seal of approval for these films, although not until certain cuts were made. Due to its themes, Billy Wilder's Some Like It Hot (1959) was not granted a certificate of approval, but it still became a box office smash, and, as a result, it further weakened the authority of the Code. At the forefront of contesting the Code was director Otto Preminger, whose films violated the Code repeatedly in the 1950s. His 1953 film The Moon Is Blue — about a young woman who tries to play two suitors off against each other by claiming that she plans to keep her virginity until marriage — was released without a certificate of approval. He later made The Man with the Golden Arm (1955), which portrayed the prohibited subject of drug abuse, and Anatomy of a Murder (1959), which dealt with murder and rape. Like Some Like It Hot, Preminger's films were direct assaults on the authority of the Production Code, and their success hastened its abandonment. In the early 1960s, films began to deal with adult subjects and sexual matters that had not been seen in Hollywood films since the early 1930s. The MPAA reluctantly granted the seal of approval for these films, although again not until certain cuts were made. In 1964, the Holocaust film The Pawnbroker, directed by Sidney Lumet and starring Rod Steiger, was initially rejected because of two scenes in which the actresses Linda Geiser and Thelma Oliver fully expose their breasts, as well as due to a sex scene between Oliver and Jaime Sánchez described as "unacceptably sex suggestive and lustful". Despite the rejection, the film's producers arranged for Allied Artists to release the film without the Production Code seal, with the New York censors licensing the film without the cuts demanded by Code administrators. The producers appealed the rejection to the Motion Picture Association of America. On a 6–3 vote, the MPAA granted the film an exception conditional on "reduction in the length of the scenes which the Production Code Administration found unapprovable". The requested reductions of nudity were minimal; the outcome was viewed in the media as a victory for the film's producers. The Pawnbroker was the first film featuring bare breasts to receive Production Code approval. The exception to the code was granted as a "special and unique case" and was described by The New York Times at the time as "an unprecedented move that will not, however, set a precedent". However, in Pictures at a Revolution, Mark Harris' 2008 study of films during that era, Harris wrote that the MPAA approval was "the first of a series of injuries to the Production Code that would prove fatal within three years." In 1966, Warner Bros. released Who's Afraid of Virginia Woolf?, the first film to feature the "Suggested for Mature Audiences" (SMA) label. When Jack Valenti became President of the MPAA in 1966, he was faced with censoring the film's explicit language. Valenti negotiated a compromise: the word "screw" was removed, but other language remained, including the phrase "hump the hostess". The film received Production Code approval despite the previously prohibited language. That same year, the British-produced, American-financed film Blowup was denied Production Code approval. MGM released it anyway, the first instance of an MPAA member company distributing a film that did not have an approval certificate. That same year, the original and lengthy code was replaced by a list of eleven points. The points outlined that the boundaries of the new code would be current community standards and good taste. Any film containing content deemed suitable for older audiences would feature the label SMA in its advertising. With the creation of this new label, the MPAA unofficially began classifying films. Production Code abandoned By the late 1960s, enforcement had become impossible and the Production Code was abandoned entirely. The MPAA began working on a rating system, under which film restrictions would lessen. The MPAA film rating system went into effect on November 1, 1968, with four ratings: G for general audiences, M for mature content, R for restricted (under 17 not admitted without an adult), and X for sexually explicit content. By the end of 1968, Geoffrey Shurlock stepped down from his post. In 1969, the Swedish film I Am Curious (Yellow), directed by Vilgot Sjöman, was initially banned in the U.S. for its frank depiction of sexuality; however, this was overturned by the Supreme Court. In 1970, because of confusion over the meaning of "mature audiences", the M rating was changed to GP, and then in 1972 to the current PG, for "parental guidance suggested". In 1984, in response to public complaints regarding the severity of horror elements in PG-rated titles such as Gremlins and Indiana Jones and the Temple of Doom, the PG-13 rating was created as a middle tier between PG and R. In 1990, the X rating was replaced by NC-17 (under 17 not admitted), partly because of the stigma associated with the X rating, and partly because the X rating was not trademarked by the MPAA; pornographic bookstores and theaters were using their own X and XXX symbols to market products. Because the American Humane Association's Hollywood office depended on the Hays Office for the right to monitor sets, the closure of the Hays Office in 1966 corresponded with an increase in animal cruelty on movie sets. According to a writer for Turner Classic Movies, the association's access did not return to Hays-era standards until 1980. - Code of Practices for Television Broadcasters, which served the same purpose for television series - Comics Code Authority, which functioned similarly for the comics industry - Censorship in the United States - Entertainment Software Rating Board, which offers ratings for video games in a similar grouping to motion pictures - PMRC, a similar group, which sought to control musical content with the Parental Advisory sticker - The Celluloid Closet - This Film Is Not Yet Rated - McGilligan, Patrick (2004). Alfred Hitchcock: A Life in Darkness and Light. New York: Harper Perennial; ISBN 978-0-06-098827-2, p. 376 - Sperling, Millner, and Warner (1998), Hollywood Be Thy Name, Prima Publishing; ISBN 559858346, p. 325. - Will Hays profile, Encyclopedia of World Biography Supplement, (2001) Vol. 21. - Doherty. pg. 6 - Yagoda, Ben. HOLLYWOOD CLEANS UP ITS ACT The curious career of the Hays Office, americanheritage.com, October 10, 2010; accessed March 19, 2014. - Gardner (2005). pg. 92 (available online) - Leff & Simmons. pg. 3 - Siegel & Siegel. pg. 190 - Prince. pg. 20 - Jowett, essay in Bernstein. pg. 16 - Butters Jr. pg. 149 - Butters Jr. pg. 148 - LaSalle (1999), p. 62 - Vieira. pgs. 7–8 - Butters Jr. pg. 187 - Vieira. pg. 8 - Prince. pg. 31 - LaSalle (2002). pg. 1 - Butters Jr. pg. 189 - Lewis, Jon (2000). Hollywood v. Hard Core: How the Struggle Over Censorship Created the Modern Film Industry. NYU Press. pp. 301–02. ISBN 978-0-8147-5142-8. - Smith. pg. 38 - Jacobs. pg. 108 - Prince. pg. 21 - Staff. "Col. Jason S. Joy profile". mppda.flinders.edu.au. Flinders Institute for Research in the Humanities. Retrieved February 10, 2014. - LaSalle, Mick. "Pre-Code Hollywood", GreenCine.com, accessed October 4, 2010. - Doherty. pg. 8 - Doherty. pg. 2 - Leff, Leonard L. & Simmons, Jerold L. The Dame in the Kimono: Hollywood, Censorship, and the Production Code. Weidenfeld and Nicolson, 1990 (reprinted University Press of Kentucky, 2001); ISBN 0-8131-9011-8, pp. 270-271, 286-287 - Doherty. pg. 7 - Doherty. pg. 11 - Butters Jr. pg 188 - Hollywood Censored, Gregory Black, 1994. - Black. pg. 43 - Doherty. pg. 107 - Black. pp. 44-45 - Black. pp 50-51 - Jacobs. pg. 27 - Vieira. pg. 117 - Black. pg. 52 - Thomas Doherty (May 20, 2006). "The Code Before 'Da Vinci'". washingtonpost.com. The Washington Post Company. Retrieved February 10, 2014. - Scott, Henry E. Shocking True Story, The Rise and Fall of "Confidential", America's Most Scandalous Magazine, Pantheon, 2004, 2010; ISBN 0375421394. - Censored Films and Television at University of Virginia online - Harmetz, pp. 162–166 and Behlmer, pp. 207–208, 212–213 - Vieira (1999). pg. 188. - Mondello, Bob. "Remembering Hollywood's Hays Code, 40 Years On", npr.org; August 8, 2008; accessed April 17, 2014. - As per The Brothers Warner (2008 documentary) - Mushnik, Phil. "Three Stooges first to blast Hitler". nypost.com, July 14, 2013; accessed April 17, 2014. - Schumach, Murray, The Face On The Cutting Room Floor: The Story Of Movie And Television Censorship; New York: William Morrow and Company, 1964; ISBN 978-0-3068-0009-2, pp. 163-164 - Hirsch, Foster (2007). Otto Preminger the man who would be king (1st ed. ed.). New York: Alfred A. Knopf. ISBN 9780307489210. - Leff & Simmons (2001) - Leff, Leonard J. (1996). "Hollywood and the Holocaust: Remembering The Pawnbroker" (PDF). American Jewish History 84 (4): 353–376. doi:10.1353/ajh.1996.0045. Retrieved 2009-03-09. - Harris, Mark (2008). Pictures at a Revolution: Five Movies and the Birth of the New Hollywood. Penguin Group. pp. 173–176. ISBN 978-1-59420-152-3. - Doherty, Thomas Patrick (2007). Hollywood's Censor: Joseph I. Breen and the Production Code Administration. Columbia University Press. ISBN 978-0-231-51284-8. Retrieved February 11, 2014. - "The MPAA Rating Systems". September 16, 1994. - David J. Fox (September 27, 1990). "X Film Rating Dropped and Replaced by NC-17 : Movies: Designation would bar children under 18. Move expected to clear the way for strong adult themes.". Los Angeles Times. Retrieved April 17, 2014. - Jeremy Arnold. "Jesse James". tcm.com. Turner Classic Movies. Retrieved December 4, 2014. - Bernstein, Matthew. Controlling Hollywood: Censorship and Regulation in the Studio Era. Rutgers University Press 1999; ISBN 0-8135-2707-4. - Black, Gregory D. Hollywood Censored: Morality Codes, Catholics, and the Movies. Cambridge University Press 1996; ISBN 0-521-56592-8. - Butters Jr., Gerard R. Banned in Kansas: motion picture censorship, 1915-1966. University of Missouri Press 2007; ISBN 0-8262-1749-4. - Doherty, Thomas Patrick. Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema 1930-1934. New York: Columbia University Press 1999; ISBN 0-231-11094-4. - Gardner, Eric. The Czar of Hollywood. Indianapolis Monthly, Emmis Publishing LP February 2005; ISSN 0899-0328. (available online) - Harris, Mark (2008). Pictures at a Revolution: Five Movies and the Birth of the New Hollywood. Penguin Group; ISBN 978-1-59420-152-3. - Hirsch, Foster (2007). Otto Preminger, the man who would be king (1st ed. ed.). New York: Alfred A. Knopf. ISBN 9780307489210. - Jacobs, Lea. The Wages of Sin: Censorship and the Fallen Woman Film, 1928-1942. Madison: University of Wisconsin Press 1997; ISBN 0-520-20790-4. - LaSalle, Mick, Complicated Women: Sex and Power in Pre-Code Hollywood; New York: St. Martin's Press, 2000; ISBN 0-312-25207-2. - Leff, Leonard L. & Simmons, Jerold L. The Dame in the Kimono: Hollywood, Censorship, and the Production Code. University Press of Kentucky 2001; ISBN 0-8131-9011-8. - Lewis, Jon, Hollywood v. Hard Core: How the Struggle Over Censorship Saved the Modern Film Industry; New York University Press, 2000; ISBN 0-8147-5142-3. - Prince, Stephen. Classical Film Violence: Designing and Regulating Brutality in Hollywood Cinema, 1930-1968. Rutgers University Press 2003; ISBN 0-8135-3281-7. - Siegel, Scott & Barbara. The Encyclopedia of Hollywood (2nd edition), Checkmark Books 2004; ISBN 0-8160-4622-0. - Smith, Sarah. Children, Cinema and Censorship: From Dracula to the Dead End Kids. Wiley-Blackwell 2005; ISBN 1-4051-2027-4. - Staff. "Col. Jason S. Joy profile", Flinders Institute for Research in the Humanities; retrieved February 10, 2014. - Vieira, Mark A. Sin in Soft Focus: Pre-Code Hollywood. New York: Harry N. Abrams, Inc. 1999; ISBN 0-8109-8228-5. - "Will Hays: America's Morality Czar", Encyclopedia of World Biography Supplement, Vol. 21. Gale Group, 2001"; retrieved April 17, 2014. - Wittern-Keller, Laura. Freedom of the Screen: Legal Challenges to State Film Censorship, 1915-1981. University Press of Kentucky 2008; ISBN 978-0-8131-2451-3. - Gilbert, Nora, Better Left Unsaid: Victorian Novels, Hays Code Films, and the Benefits of Censorship; Stanford University Press, 2013; ISBN 978-0804784207 - Lugowski, David M., "Queering the (New) Deal: Lesbian and Gay Representation and the Depression-Era Cultural Politics of Hollywood's Production Code", Cinema Journal 38, 2, Winter 1999, pp. 3–35 - Miller, Frank, Censored Hollywood; Atlanta: Turner Publishing, 1994; ISBN 1-57036-116-9 - Censored Films and Television at University of Virginia online - Motion Picture Association of America: History and Film Ratings - Bibliography of books articles about movie censorship (via UC Berkeley) - Complete list of the 36 'Don'ts and Be Carefuls' of 1927 - Complete text of the Motion Picture Production Code of 1930 (without the subsequent amendments) - The Production Code of the Motion Picture Industry (includes examples, all amendments, the 1956 rewrite, and 1966 rewrite) - More Sinned Against than Sinning: The Fabrications of "Pre-Code Cinema" - Talking Pictures website: Article by Nigel Watson about film censorship issues accompanied by classroom activities for students - Numbered list of Production Code certificates of approval

<urn:uuid:74d83865-2c24-4c4c-af55-a04328176834>

CC-MAIN-2014-52

http://en.wikipedia.org/wiki/Production_Code

s3://commoncrawl/crawl-data/CC-MAIN-2014-52/segments/1419447546544.57/warc/CC-MAIN-20141224185906-00054-ip-10-231-17-201.ec2.internal.warc.gz

en

Best Practices for Quantitative Reasoning Instruction In her book Powerful Learning: What we Know about Teaching for Understanding, Darling-Hammond (2008: 5) argues that meaningful learning is accomplished through a number of key approaches including: "(1) creating ambitious and meaningful tasks, (2) engaging students in active learning, (3) drawing connections to students, (4) scaffolding the learning process, (5) assessing student learning continuously, (6) providing clear standards and constant feedback, and (7) encouraging strategic and metacognitive thinking." Several pedagogical approaches which are especially important for teaching QR are described in more detail on this page including: - real world applications and active learning, including discovery methods; - pairing QR instruction with writing and critical reading; - using technology, including computers; - collaborative instruction and group work; - pedagogy that is sensitive to differences in students' culture and learning styles; and - scaffolding the learning process and providing rich feedback and opportunities for revision. Of course, these approaches are frequently overlapping. Videos about Best Practices for Teaching QR For a collection of excellent videos about the importance of and strategies for teaching numeracy, see the numeracy videos that were produced in Australia as part of National Literacy and Numeracy Week, an initiative that "represents a collaborative approach by the Australian Government and school communities to highlight the importance of literacy and numeracy skills for all children and young people, with a specific focus on school-aged children." A video produced by the University of Colorado at Boulder Journalism and Mass Communications students that discusses the educational practices that contribute to quantitative illiteracy and proposes solutions. This video features an interview with Sanjoy Mahajan, author of Street-Fighting Mathematics. A summary of Alistair McIntosh's (formerly Associate Professor at the University of Tasmania, Australia) ideas about the key ingredients of successful mathematics teaching and promoting numeracy. Real World Applications and Active Learning, including Discovery Methods Involving Students in the Learning Process There is a famous Chinese proverb that states, "What I hear, I forget; what I see, I remember; what I do, I understand." This proverb is a fundamental principle of active learning. Extensive research has shown that students learn more rapidly, retain knowledge longer, and develop superior critical thinking skills when they are actively involved in the learning process (see, e.g., Himes and Caffrey 2003, Kain 1999; Kenny 1998; King 1994). Indeed, the premise that "students learn math by doing math, not by listening to someone talk about doing math" (Twigg 2005) provides the philosophical approach for NICHE (i.e., "students learn quantitative reasoning by doing quantitative reasoning"). Successful instruction in QL requires progressive pedagogy: "connecting content to real-life situations, lighter coverage of topics, an emphasis on understanding concepts rather than facts, integrating content across disciplinary boundaries" (Cuban 2001: 89). When theory and data analysis are combined in an active learning setting, students often come to understand that quantitative reasoning skills are relevant to social issues. The importance of teaching QR skills within an applied (real-world) context has been emphasized by a number of educators. For example, Burkhardt (2008) argues in favor of Numeracy through Problem Solving (NTPS), which grew out of a concern that students see school mathematics as irrelevant to their present or future lives. Likewise, Karim and Wakefield (2007: 3) stress the importance of presenting real-world example before introducing more general theoretical concepts. These approaches to QR instruction are important, particularly since the contextualized use of data is central to QR and empirical research has failed to demonstrate that traditional remedial math courses improve student performance (see, e.g., Lagerlöf and Seltzer 2008; Pozo and Stull 2006). Other researchers have demonstrated how active learning with real applications can improve statistical literacy skills among young children (Marshall and Swan 2006) as well as graphing skills among college students (McFarland 2010). Moreover, at Macalester College, the economics and mathematics departments jointly offered a course which taught students fundamental quantitative skills within an applied context (e.g., sampling issues and the interpretation of polling data) (Bressoud 2009). One approach to active learning that is valuable for teaching QR is the application of constructivist and discovery methods. Indeed, Killen (2006) contends: It is now generally accepted that most people learn best through personally meaningful experiences that enable them to connect new knowledge to what they already believe or understand. Such constructivist views of learning have led to a redefinition of effective teaching. It is now more widely accepted that teachers have to deliberately help learners construct their own understanding, rather than simply tell them things that they are expected to memorize. Good teaching is no longer about helping students to accumulate knowledge that is passed onto them by teachers; it is about helping students to make sense of new information (no matter what its source), to integrate new information with their existing ideas and to apply their new understandings in meaningful and relevant ways. These approaches see learning as a form of understanding constructed by the learner and focus on ways in which the individual learner makes sense of the subject matter (see, e.g., Brooks and Brooks 2001; Caine and Caine 1994; Cakin 2008; Hatano 1996; Leonard 2002; Tout and Schmitt 2002; Switzer 2004). At the same time, teaching QR does not always necessitate such approaches. For example, McLaughlin and Talbert (1993: 4) contend that "teachers need to learn when the interactive, constructivist forms of teaching are called for and when other less demanding, conventional strategies are appropriate." Pairing QR Instruction with Writing, Storytelling and Critical Reading Below is a video which features John Allen Paulos discussing stories and statistics: Pairing quantitative constructs with language serves to (1) strengthen academic arguments; (2) strengthen quantitative literacy/reasoning; (3) interpret and improve public discourse; (4) encourage quantitative reasoning across the curriculum; and (5) prepare students for the workplace (Madison 2012). Research has also shown that placing QR programs within the context of writing programs brings a number of benefits. For example, it improves writing instruction, challenges the notion that QR is only remedial math, and provides a route for the incorporation of QR into the curriculum (Grawe and Rutz 2009). Stressing the importance of connecting writing and QR, Lutsky (2008: 63) argues that "quantitative information may be used to help articulate or clarify an argument, frame or draw attention to an argument, make a descriptive argument, or support, qualify, or evaluate an argument. Quantitative analysis may also influence how arguments are marshaled and how exchanges of arguments are conducted." Adding numbers to language does not only strengthen the latter, but the reverse is also true. Indeed, research has shown that pairing developmental mathematics with reading can enhance success in mathematics (Kirk and Lerma 2010). Using Technology, including Computers Computer skills (operating systems, spreadsheets, etc.) are also essential to QL/QR (Collison et al. 2008; Jabon 2006; Steen 2004; Vacher and Lardner 2010; Wiest et al. 2007). Indeed, the use of computers can actively engage students in QR work, promote logical thinking and help students master QL/QR skills that are central to the research process (Fuller 1998; Markham 1991; Persell 1992; Raymondo 1996). Interactive computer software; personalized, on-demand assistance; and mandatory student participation have also been recognized as key elements of successful math instruction (NCAT 2005). The integration of spreadsheets across the curriculum has also been shown to successfully promote QR engagement in a variety of fields (Vacher and Lardner 2000). Moseley and colleagues (1999) found that various strategies of using information and communication technology promoted effective instruction in literacy and numeracy in primary schools in Great Britain. Indeed, research has shown that active learning using computers helps promote students' QR skills (Wilder 2009), and that computer literacy is itself seen as a QR skill (Wilder 2010). For instance, the interdisciplinary, technology-infused approach to QR adopted by DePaul University had a number of positive benefits (Jabon 2006); students mastered technology tools by undertaking realistic analyses, and the computer-based activities created an active, lively learning environment that was engaging for students. Collaborative Instruction and Group Work Interdisciplinary and collaborative approaches, including group work, are effective educational strategies for promoting mathematics and QR education. For example, in their research on teaching social science reasoning and quantitative literacy using collaborative groups, Caulfield and Hodges (2006: 52) reported, "Our data clearly reveal that most of our students work harder and learn more while working in groups." Indeed, Grouws and Cebulla (2000: 20) argue that "teachers must encourage students to find their own solution methods and give them opportunities to share and compare their solution methods and answers. One way to organize such instruction to have students work in small groups initially and then share ideas and solutions in a whole-class discussion." More recently, Dingman and Madison (2010; see also Madison and Dingman 2010) taught a course that engaged students in collaborative small-group learning exercises in which they read and evaluated data from newspaper articles. Pedagogy that is Sensitive to Differences in Students' Culture and Learning Styles Considerable research has shown that women and minorities experience mathematical and quantitative disadvantages. The strategies for overcoming this inequality remain a topic of considerable interest and debate. Tout and Schmitt (2002) note that in the United States, considerable effort has been directed towards fostering the success of females in mathematics and such approaches to teaching have "challenged the traditionally male-dominated domain of math education and promoted alternatives that in many cases are attractive not only to girls but to the many boys who struggle with learning mathematics in the class. Such approaches include working cooperatively, promoting discussion and idea sharing, and using hands-on materials." Even within the classroom, teachers need to be sensitive to the variation in students' abilities (see, e.g., Stern 2004). Teaching quantitative reasoning in a manner that is sensitive to different cultures also has the potential for improving student learning. For example, Ubiratan D'Ambrosio, the Brazilian educator who coined the term "ethnomathematics," described it as the study of different forms of mathematics that arise in different cultural contexts. Zaslavsky (1994: 7) argues that the incorporation of ethnomathematical perspectives calls for "a complete turn-around from the way mathematics is now taught in many classrooms." In a nutshell, she argues that: a) The entire mathematics curriculum must be restructured so that mathematical concepts and ethnomathematical aspects are synthesized. Rather than a curriculum emphasizing hundreds of isolated skills, mathematics education will embody real-life applications in the forms of projects based on themes and mathematical concepts. b) Teachers at all levels must be well-grounded in mathematics and at the same time familiar with the interface between mathematics and other subject areas. They will need the initiative and time to work with other teachers, with parents and the community in planning lessons that are relevant specifically to their students. Preservice and inservice education should incorporate these perspectives. c) The revised curriculum will require various methods of assessment – on-going assessment of projects, evaluation of portfolios, etc. Simplistic multiple-choice tests will be abolished or downplayed. d) Research must be conducted and the results made valuable to teachers on the ways in which underserved and underrepresented students, particularly females and people of color, can best learn mathematics. Likewise, Rowlands and Carson (2002: 52) argue that "only through the lens of formal, academic mathematics sensitive to cultural differences that the real value of the mathematics inherent in certain cultures and societies [can] be understood and appreciated." Indeed, "functional math has much in common with ethnomathematics. Both argue for an approach that covers a wide range of math skills embedded within social contexts and purposes that values personal ways of doing math" (Tout and Schmitt 2002). "Acknowledging the cultural component of mathematics will enhance our appreciation of its scope and its potential to providing an interesting, artistic and useful view of the world" (Barton 1996: 299). Just as an ethnomathematical framework can improve mathematics education, so too can an ethnonumeracy1 approach improve students' understanding of quantitative reasoning skills. For example, integrating culturally relevant QR exercises is important. At the same time, Orey and Rosa (2007: 15) caution that ethnomathematical work in the schools is not a simplistic presentation of cultural examples or simply situating mathematics in cultural contexts. Rather it requires considerable background work, complete understanding, and pedagogical sophistication . . . For example, it is convenient to state that teachers may interpret an ethnomathematical approach by starting with the students' outside socio-cultural-economic realities, but the students may refuse to study their own realities because they consider them to be oppressive." Another example has to do with cultural modes of communication. As communication is one key component of quantitative reasoning, an ethonumerical approach to QR instruction will need to respond to differences in language (particularly among non-native English speakers) and how words are used to describe numbers and data among different populations. Scaffolding the Learning Process and Providing Rich Feedback and Opportunities for Revision Teaching QR for understanding involves a process whereby the instructor is an active facilitator of learning. Killen (2006: 21) notes that the teacher's goal should be "to encourage students to be both investigators and critics of the subjects they are studying, while providing them with sufficient scaffolding for them to be successful in their learning." Scaffolding entails "providing a student with enough help to complete a task and then gradually decreasing the help as the student becomes able to work independently" (Killen 2006: 7). Moreover, throughout the learning process, faculty must be engaged in providing rich feedback to students and ensuring that students have ample opportunities to master the material, particularly if they are not successful the first time around. The Writing Across the Curriculum (WAC) model of instruction incorporates revision as an essential component in the process of learning how to write; this model is also critical for mastering quantitative reasoning skills. I I (Esther Wilder) use the term "ethnonumeracy" to refer to an appreciation for the cultural context of quantitative reasoning skills and understanding. Asia E-University. 2009. "Metacognition and Constructivism." Chapter 6 in Education Psychology (online course). Pages 142-169. Barton, Bill. 1997. "Making Sense of Ethnomathematics: Ethnomathematics is Making Sense." Educational Studies in Mathematics 31 (1/2): 201-233. Borich, Gary D. and Martin L. Tombari. 1997. Educational Psychology: A Contemporary Approach. Longman. Bressoud, David. 2009. "Establishing the Quantitative Thinking Program at Macalester." Numeracy 2(1): Article 3. Brooks, Jacqueline Grennon and Martin G. Brooks. 2001. "Becoming a Constructivist Teacher." Chapter 9 in In Search of Understanding: The Case for Constructivist Classrooms. Revised Edition. New York: Prentice Hall. Bruner, Jerome. 1967. On Knowing: Essays for the Left Hand. 2nd Edition. Cambridge: Harvard University Press. Burkhardt, Hugh. "Quantitative Literacy for All: How Can We Make it Happen." Pp. 137-162 in Calculation vs. Context: Quantitative Literacy and Its Implications for Teacher Education, edited by Bernard L. Madison and Lynn Arthur Steen. Mathematical Association of America. Caine, Renate N. and Geoffrey Caine. 1994. Making Connections: Teaching and the Human Brain. Menlo Park, CA: Addison Wesley. Cakin, Mustafa. 2008. "Constructivist Approaches to Learning in Science and Their Implications for Science Pedagogy: A Literature Review." International Journal of Environmental & Science Education 3(4): 193-206. Caulfield, Susan L. and Caroline Hodges Persell. 2006. "Teaching Social Science Reasoning and Quantitative Literacy: The Role of Collaborative Groups." Teaching Sociology 34(1): 39-53. Collison, Joe, Catherine Good, Sonali Hazarika, Matt Johnson, Jimmy Jung, Anita Mayo, Will Millhiser, Dahlia Remler, and Laurie Beck. 2008. "Report of the Provost's Task Force on Quantitative Pedagogy." Baruch College, the City University of New York. Cuban, Larry. 2001. "Encouraging Progressive Pedagogy." Pp. 87-91 in Mathematics and Democracy: the Case for Quantitative Literacy, edited by Lynn Arthur Steen. Princeton, NJ: National Council on Education and the Disciplines. Darling-Hammond, Linda. Editor. 2008. Powerful Learning: What we Know about Teaching for Understanding. San Francisco: Jossey-Bass. Dingman, Shannon W. and Bernard L. Madison. 2010. "Quantitative Reasoning in the Contemporary World, 1: The Course and Its Challenges." Numeracy 3(2): Article 4. Fuller, Theodore D. 1998. ''Using Computer Assignments to Promote Active Learning in the Undergraduate Social Problems Course.'' Teaching Sociology 26(3): 215-21. Grawe, Nathan D. and Carol A. Rutz. 2009. "Integration with Writing Programs: A Strategy for Quantitative Reasoning Program Development." Numeracy 2(2): Article 2. Grouws, Douglas A. and Kristin J. Cebulla. 2000. Improving Student Achievement in Mathematics. Geneva, Switzerland: International Academy of Education. Hatano, Giyoo. 1996. '"A Conception of Knowledge Acquisition and its Implications for Mathematics Education. Pp. 197-217 in Theories of Mathematical Learning, edited by Leslie P. Steffe and Pearla Nesher. Mahwah, NJ: Erlbaum. Himes, Christine L. and Christine Caffrey. 2003. "Linking Social Gerontology with Quantitative Skills: A Class Project Using U.S. Census Data." Teaching Sociology 31(1): 85-94. Jabon, David. 2006. "Quantitative Reasoning: An Interdisciplinary, Technology Infused Approach." In Current Practices in Quantitative Literacy, edited by Rick Gillman. Washington, DC: Mathematical Association of America. Pp. 111-117. Kain, Edward L. 1999. "Building the Sociological Imagination Through a Cumulative Curriculum: Professional Socialization in Sociology." Teaching Sociology27(1): 1-16. Karim, Nakhshin and John Wakefield. N.d. "Experiences in Developing a Quantitative Reasoning Program for Students at Zayed University." Paper presented at Learning Technologies and Mathematics, Middle East Conference, Sultan Qaboos University, Muscat, Oman. Killen, Roy. 2006. Effective Teaching Strategies: Lessons from Research and Practice. 4th Edition. Cengage. King, Kim M. 1994. "Leading Classroom Discussions: Using Computers for a New Approach." Teaching Sociology 22(2):174-82. Kirk, Honey and Diane Lerma. 2010. "Reading your Way to Success in Mathematics: A Paired Course of Developmental Mathematics and Reading." MathAMATYC Educator1(2): 10-14. Lagerlöf, Johan, and Andrew Seltzer. 2008. "Do Remedial Mathematics Courses Help Economics Students?" VoxEU.org. Leonard, David C. 2002. Learning Theories: A to Z. Westport, CT: Greenwood. Lutsky, Neil. 2008. "Arguing with Numbers: Teaching Quantitative Reasoning through Argument and Writing." Pp. 59-74 in Calculation vs. Context: Quantitative Literacy and Its Implications for Teacher Education, edited by Bernard L. Madison and Lynn Arthur Steen. Washington, DC: Mathematical Association of America. Madison, Bernard. 2012. "If Only Math Majors Could Write." Numeracy 5(1): Article 6. Madison, Bernard L. and Shannon W. Dingman. 2010. "Quantitative Reasoning in the Contemporary World, 2: Focus Questions for the Numeracy Community." Numeracy 3(2): Article 5. Markham, William T. 1991. ''Research Methods in the Introductory Course: To Be or Not to Be?'' Teaching Sociology 19(4): 464-71. Marshall, Linda and Paul Swan. 2006. "Using M&Ms to Develop Statistical Literacy." APMC 11(1): 15-24. McFarland, Jenny. 2010. "Teaching and Assessing Graphing Using Active Learning." MathAMATYC Educator 1(2): 32-39. McLaughlin, Milbrey W., and Joan E. Talbert. 1993. "New Visions in Teaching." Pp. 1-10 in Teaching for Understanding, edited by D.K. Cohen, M.W. McLaughlin and J.E. Talbert. New York: Jossey-Bass. Moseley, David, Steve Higgins, Rod Bramald, Frank Hardman, Jen Miller, Maria Mroz, Harrison Tse, Doug Newton, Ian Thompson, John Williamson, Jean Halligan, Sarah Bramald, Lynne Newton, Peter Tymms, Brian Henderson, and Jane Stout. 1999. Ways forward with ICT: Effective Pedagogy Using Information and Communications Technology for Literacy and Numeracy in Primary Schools. Report commissioned by the Teacher Training Agency, Great Britain. Persell, Caroline Hodges. 1992. ''Bringing PCs into Introductory Sociology Courses: First Steps, Missteps, and Future Prospects.'' Teaching Sociology 20(2): 91-103. Pozo, Susan, and Charles A. Stull. 2006. "Requiring a Math Skills Unit: Results of a Randomized Experiment." American Economic Review, Papers and Proceedings 96(2): 437-441. Raymondo, James C. 1996. ''Developing a Computer Laboratory for Undergraduate Sociology Courses.'' Teaching Sociology 24(3): 305-09. Rowlands, Stuart and Robert Carson. 2002. "Where Would Formal, Academic Mathematics Stand in a Curriculum Informed by Ethnomathematics? A Critical Review of Ethnomathematics." Educational Studies in Mathematics 50(1): 79-102. Steen, Lynn Arthur. 2004. ''Everything I Needed to Know about Averages I Learned in College.'' Peer Review 6(4): 4-8. Stern, Frances. 2000. "Choosing Problems with Entry Points for All Students." Mathematics Teaching in the Middle Schools 6(1): 8-11. Switzer, Jamie S. 2004. "Teaching Computer-Mediated Visual Communication to a Large Section: A Constructivist Approach." Innovative Higher Education 29(2): 89-101. Twigg, Carol A. 2005. "Math Lectures: An Oxymoron?" The National Center for Academic Transformation. Tout, Dave, and Mary Jane Schmitt. 2002. "The Inclusion of Numeracy in Adult Basic Education." Chapter 5 in Review of Adult Learning and Literacy (3). National Center for the Study of Adult Learning and Literacy. Vacher, H. Len and Emily Lardner. 2010. "Spreadsheets Across the Curriculum 1: The Idea and the Resource." Numeracy 3(2): Article 6. Wiest, Lynda R., Heidi J. Higgins, and Janet Hart Frost. 2007. "Quantitative Literacy for Social Justice." Equity & Excellence in Education 40: 47-55. Wilder, Esther Isabelle. 2010. "A Qualitative Assessment of Efforts to Integrate Data Analysis throughout the Sociology Curriculum: Feedback from Students, Faculty and Alumni." Teaching Sociology 38(2): 226-246. Zaslavsky, Claudia. 1994. "'Africa Counts' and Ethnomathematics." For the Learning of Mathematics14(2): 3-8.

<urn:uuid:28768135-0113-4ab0-95e9-541e3b9f6c5e>

CC-MAIN-2014-52

http://serc.carleton.edu/NICHE/best_practices.html

s3://commoncrawl/crawl-data/CC-MAIN-2014-52/segments/1418802772897.141/warc/CC-MAIN-20141217075252-00171-ip-10-231-17-201.ec2.internal.warc.gz

en