Essay of dream act Essay

Course Description: This course is an examination of the underlying theoretical principles of developmentally appropriate practices applied to programs, environments, emphasizing the key role of relationships, constructive adult-child interactions, and teaching strategies in supporting physical, social, creative and intellectual development for all children. This course includes a review of the historical roots of early childhood programs and the evolution of the professional practices promoting advocacy, ethics and professional identity. Course Objectives: upon successful completion of this course students will- a. Identify the historical roots of early childhood education. b. List different program types, delivery systems and licensing and regulation structures in early childhood settings. c. Demonstrate awareness of developmental ages and stages. d. Define developmentally, culturally and linguistically appropriate practice. e. Describe why access to play is important for all children and ways of using a play-based curriculum as a vehicle for developing skills, dispositions, and knowledge. f. Describe appropriate adaptations (programmatic, curricular and environmental strategies) needed to support children with diverse abilities and characteristics. g. Identify and compare effective policies, practices and environments in early childhood settings. h. Describe the characteristics of effective relationships and interactions between early childhood professionals, children, families and colleagues and examine the importance of collaboration. i. Describe the relationship of  observation, planning, implementation, and assessment in effective programming. j. Compare and contrast principles of positive guidance and identify strategies for different ages. k. Identify practices promoting positive classroom management, guidance, communication and problem-solving skills. l. Develop strategies to maintain communication and access with English language learning families and children. m. Demonstrate skills to maintain positive team relations. n. Explain child development as a profession, including ethics and professional organizations. o. Compare and contrast theoretical perspectives. p. Develop and articulate a professional philosophy. Student Learning Outcomes: 1. Examine the value of play as a vehicle for developing skills, knowledge, dispositions and strengthening relationships among young children. 2. Analyze the relationship between observation, planning, implementation and assessment in developing effective teaching strategies and positive learning and development. 3. Assess early childhood settings, curriculum and teaching strategies utilizing indicators of quality early childhood practice that support all children including those with diverse characteristics and their families. 4. Interpret best and promising teaching and care practices as defined within the field of early care and education including an historic overview, range of delivery systems, program philosophies and ethical standards. 5. Identify the underlying theoretical perspective in forming a professional philosophy. 6. Examine a variety of guidance and interaction strategies to increase children’s social competence and promote a caring classroom community. This Course Meets NAEYC Early Childhood Associate Degree Accreditation Standard 5: Becoming a Professional- Students prepared in associate degree programs identify and conduct themselves as members of the early childhood profession. They know and use ethical guidelines and other professional standards related to early childhood practice. They are continuous, collaborative learners who demonstrate knowledgeable, reflective, and critical perspectives on their work, making informed decisions that  integrate knowledge from a variety of sources. They are informed advocates for sound educational practices and policies. Attendance and Participation: Students are expected to attend all class meetings. As future ECE professionals, students must demonstrate the commitment to professional standards through good attendance and punctuality. Please arrive on time and do not leave early. It reflects badly on you and you will miss important class materials. Attendance and participation are vital to success in this, or any other college-level course. Students may not make up in-class activities, nor may they complete those activities early. Journal writing is completed and in-class points are recorded at different times throughout the class session. If you are unable to attend the full class session regularly, you should arrange to take another section of this class. It is always the student’s responsibility to acquire class materials for any missed class time. DO NOT phone or email the instructor for missed class materials. Towards this end, students are encouraged to obtain a â€Å"phone or email buddy†, get the number or email address of a classmate and agree to share information when one or the other is absent. This instructor makes use of BlackBoard. All assignments and handouts are available via our course shell and some assignments may be submitted in BlackBoard as well. Students who miss the first class without notifying the instructor will be dropped. Excessive absences (more than 2) may result in the student being dropped from the class. However, students should not assume that poor attendance will automatically result in a Withdrawal. It is the student’s responsibility to contact Enrollment Services and the instructor to arrange to drop a course. Students learn best when they feel comfortable and â€Å"safe† . To this end, each student will be expected to come to class prepared, to be courteous of fellow classmates, and to actively participate in the learning process. This means that you will have read the material in preparation for discussion in class and will bring questions and comments about assignments to class. Students who are active learners do best in all academic arenas and are best prepared to teach young children how to be active learners. If any student has a problem, question, concern, and/or special learning need, it is expected that these will be discussed, in private, with the instructor. Note: This college abides by Section 504 of the Rehabilitation  Act of 1973 that stipulates that no student shall be denied the benefits of an education â€Å"solely by reason of a handicap†. If you have a documented disability, which limits a major life activity that may have some impact on your work in this class and for which you may require accommodation, please discuss that with your instructor during the first two weeks of class. In addition, please seek the support of the Disabled Students Programs and Services at 773-2535 –so that appropriate accommodations may be arranged. Classroom Routines and Expectations: Each day class will follow the same routine with some variations for special class trips or projects. When you enter the classroom, please check in with the instructor. Pick up your folder and remove any graded work. Keep your folder with you until the end of the class session. Place any work to be graded in the folder and return it to the instructor prior to leaving. We will have a short â€Å"meeting† to clarify the class objectives and tasks for the day. After meeting students will have one to one and a half hours of self-directed work time. During this time students may complete chapter reading, work on individual papers or projects, work on group papers or projects (quietly so that those working on individual projects are not disturbed). During the self-directed portion of class, each student will meet with the instructor for 5-10 minutes. This is the time to address questions, concerns, or problems that you are not comfortable discussing in the large class. During the class schedule there will be tasks set up for each group/individual to complete. All tasks must be completed each class session for full points. Prior to leaving for the day, there will be a large group discussion and time for questions at the end of class each day. Turn in your folder with any work to be graded prior to leaving for the day. Assignments and Grades: Assignment Points Possible Total Points Earned Chapter Reflections Observations 7 @ 10 points each 5 @ 10 points each 70 50 Historical Project 1 2 10 points 10 Philosophy Statement Portfolio In Class Work 1 @ 10 points 1 @ 10 points 10 @ 5 points each 10 10 50 Grade Scale: 200-180=A 179-160= B 159-140=C 139-120=D 119-0=F Instructor Expectations: One of the goals of this class is to prepare students to be successful professionals. Part of having a successful image is the ability to produce neat, legible, coherent, grammatically correct, and thorough written materials. To allow anything less is to improperly prepare students for their upcoming careers. Note: It will be impossible for students to earn an â€Å"A† on any work not demonstrating college-level writing standards, regardless of the quality of the content. (See attached sheet for clarification of college level writing standards.) The instructor will spend time and energy in class working on papers, PowerPoint, and presentations so that you can turn in your best work. Student Responsibilities: It is recommended that students make copies of all assignments before they are turned in and that each graded assignment be retained after it has been returned. (It is rare that assignments get lost or grades incorrectly recorded, but this practice will assure grade accuracy). Students need to keep track of their grades/progress to ensure accuracy. Grades are posted in Blackboard and student must track grades as they are earned. If you observe an error, bring it to the instructor as soon as possible. Bring the graded paper to the instructor; grades are not changed upon your word alone. Students are welcome to meet privately with the instructor to discuss their progress. Student Handbook and other important information: The Student Conduct Standards for student behavior are outlined in the college catalog. All students are expected to know and adhere to the conduct standards. Students who are disruptive to the instructor or other students, insubordinate, demeaning or threatening through verbal or physical means will be expelled from class and the instructor will institute college disciplinary action against such students. Be Courteous: Turn off cell phones while in class. Do not take calls or text. It is distracting to other students and to you! If there is an emergency so dire that you must be on-call, please put your phone on vibrate and leave the room to take a call. Do not engage in side discussions during class. It is likewise distracting to those around you. For the optimal grade, focus your time and energy on the classroom experience. Final Note: Although your instructor is sympathetic to the difficulties that students who are also parents encounter as they try to juggle the dual responsibilities that they shoulder, it is against COD policy to allow students to bring minor children to class (unless that child is enrolled in the course). Please make arrangements for back-up child care for the â€Å"last minute emergencies† that are bound to occur. Thank you. Early Childhood Education Obligation of Confidentiality As a student in the Early Childhood Education program, I, ________________________ Agree to respect and maintain the commitment to children, families, colleagues, and community as set forth in the National Association for the Education of Young Children’s (NAEYC) Code of Ethical Conduct. AS a major component of this commitment I agree to respect the right to privacy of children, their families, ECE colleagues, and programs by not disclosing any knowledge, records, or other confidential information to anyone. This means that I will not discuss, repeat, or share information about children, families, colleagues, and programs outside of class or directed assignments. I may share information that is pertinent to classroom discussions regarding quality programming, as long as all identities (individual and program) are protected. I will abide by this obligation of confidentiality and recognize that unauthorized release of confidential information may make me subject to a civil actio n under the provisions of the Welfare and Institutions Code. Signed:_______________________________________ Date:_________________________________________ College Level Writing Standards As you complete your work, review the following questions: Presentation: Is your paper typed (12 pt. font), double-spaced, and have 1† margins? Do you include a properly formatted cover sheet? Does your paper use Times New Roman, Arial, or other standard font? Ink color is black. Grading Rubric is attached. Writing: Is your paper well organized? Does your response have a clear plan? Is it developed logically? Is there an introduction and a conclusion? Are the paragraphs linked with transitional devices? Are the paragraphs organized? Do they contain topic sentences? Is the material in each paragraph relevant to the topic sentence? Have you checked the mechanics of your writing? Are the responses free of spelling errors? Does the punctuation help with clarity of thought? Is capitalization used correctly? Are the responses free of sentence errors? Are the responses free of subject-verb agreement errors? Other: Is the vocabulary you have used college-level? (Hint: it probably is if it reflects the vocabulary used by the instructor and/or the text) Are the words used accurately? Are the sentences varied in length and type? Content: Are there original insights provided? Are course concepts applied well? Have you provided evidence to support your conclusions? (In other words, have you demonstrated that you understand the course material and that you are able to effectively apply it to the â€Å"real world†.) Criteria: Format The student has properly formatted the paper with a cover sheet, Times New Roman, Arial, or other appropriate font. Ink color is black. Student used approved APA format and paper conforms to the minimal essentials of Standard American English grammar, word choice, spelling, and punctuation. 25% Comments: Criteria: Purpose/Audience The student has clearly delineated the purpose and audience for the paper by means of a clear focus. Student has created an adequate focus for the paper that is managed and developed appropriately for the assignment. Statement of purpose and subtopics are clearly organized to create a smooth presentation. Judgments and assertions are substantiated with evidence drawn from research. 25% Comments: Criteria: Argument/Analysis/Thesis Student demonstrates analytical skills by adequately expanding on the topic. Paper is neither too short, nor too long for the assignment The paper focuses on the presentation by means of a clear statement of purpose and logically organized subtopic paragraphs. The writer substantiates judgments and assertions with specific illustrations, facts, and evidence drawn from research appropriate to the assignment and to the discipline. 25% Comments: Criteria: Scholarship The writer has added to the on-going discussion of the topic with his or her own critical analysis, rather than simply repeating what others have said through quotation stacking, paraphrasing, or summaries. The writer draws upon research when necessary to support critical analysis or assertions made and properly acknowledges the work of others by using proper APA documentation format. 25% Comments: Criteria: Extra Credit Points (no more than 10 % of total grade) Student has provided at least one carefully proofread and documented draft. Documentation is an attached form from the Writing Center, completed at least 24 hours prior to due date. Points Earned: Comments: Final Comments: Grade: Calendar and Due Dates: ECE 001 Section 2210 EVC Date: Topic In Class Work Assignments Due Weekend Homework Week One 08/26- Welcome 08/26- Review Syllabus, Complete Station to Station Activity 08/26-Station to Station Card. Get text if you don’t already have it. Read chapter one, The Teacher by 09/09. Week Two 09/09- The Teacher 09/09- Review Chapter One: The Teacher 09/09-Chapter One Reflection Read Chapter Two by 09/16 Week Three 09/16- The Field 09/16-Careers and Programs. Licensing and Standards 09/16-Chapter Two Reflection Read Chapter Three prior to 09/23 Week Four 09/23-History and Models 09/23- History and Educational Models, in class work. In Class work only Read Chapter Eight and review the Observation Packet. Make appointments for four observations. Week Five 09/30-McCarthy Center Observation Meet at Palm Desert Campus by 1:00 pm. Room West Annex 1. Observation at McCarthy Center. Schedule of Observations. Complete Observation Essay and Packet, Due 10/07. Read Chapter Four and Five by 10/07. Week Six 10/08-Observing And Assessing 10/10-Child Development 10/07-Observing and Playing – Make a child 10/10-Chapter Four Reflection Read Chapter Six and complete reflection. Week Seven 10/14-Guidance 10/14-Guidance PPT 10/14-Chapter Six Reflection Read Chapter Seven. Week Eight 10/21- Health and Safety 10/21-Is this place clean and safe? 10/21-Observation #2 packet and summary Read Chapter Nine and Complete Reflection Week Nine 10/28-Play!! 10/28-The importance of Play to Healthy Development and Learning 10/28-Chapter Nine Reflection Read Chapter Ten and Eleven Week Ten 11/04-Curriculum Planning 11/04-Curriculum Planning, Curriculum Models and DAP 11/04-Observation #3 packet and summary Read Chapter Twelve and complete Reflection Week Eleven 11/18-Inclusion and Universal Design 11/18- Inclusion of all children Universal Design for Learning 11/18- Chapter Twelve Reflection Read Chapter Thirteen and complete Reflection Week Twelve 11/25- Working with Families In class work only 11/18-Observation #4 packet and summary Chapter Thirteen Reflection Read Chapter Fourteen and begin Philosophy Statement and Education Plan Week Thirteen 12/02-Becoming a Professional 11/25- Philosophies and Education Plans Drafts of Philosophy Statements and Education Plans Complete Philosophy Statement; be sure it reflects your best work. Week Fourteen 12/09-Review of Important Class points 12/09-Becoming a Professional. Complete final work in class. 12/09- Philosophy Statement Complete Observation #5 and Education Plan/Portfolio Week Fifteen 12/16- Final – Wrapping it up. 12/16- What we learned in this class. Present education plan 12/16-Observation #5 packet and summary. Education Plan and Portfolio

Free Essays on Midsummer Nights Dream

The role of women and the supernatural are obvious themes present in the Shakespeare play, A Midsummer Night’s Dream. These themes are used currently as well; however during the Elizabethan Era they had very different understandings. The role of women was used in a more negative context and the supernatural was more commonly believed than it is today. Compared to men, women were treated as a lower society of persons during the Elizabethan time. They were expected to cook, clean, care for the children, while look beautiful if in a upper class family and be hard working if in a lower class family. Women were not ranked how men were. They were characterized based on their sexual background or their marital status. The father was the head of the household; so whatever he said was the law of the house. The wives could not disagreed or question a decision her husband made unless she did it with humility and meekness. If the father sticks with what he has already said, his wife must accept this and forget about it. The wife is the rock of the family. She must make sure her family is always stabile, emotionally and morally. In the family daughters must be well mannered, good-looking, and pure. Also, she must marry a man that will benefit the social position of her entire family. The daughters cannot even think about marriage unless her parents, mostly her father has approved. Man is considered to be the top ruler in the family, as well as outside the family. The Elizabethans had many reasons why the man, particularly the husband was the top authority. One reason was that God appointed him to this position when man and woman were created. Women were expected to do and say what their husbands wished of them, whether it went against their beliefs and feelings or not. As long as she doesn’t go against God’s will, she can go against herself as often as needed to. Another theme is the supernatural, particularl... Free Essays on Midsummer Night's Dream Free Essays on Midsummer Night's Dream Shakespeare’s play, A Midsummer Night’s Dream, is a humorous and imaginative comedy. One main theme Shakespeare includes in his play is transformation. In order to understand the many transformations, one must have a close following and understanding of the play. One transformation, which happens to three people, is due to Oberon and Puck’s flower juice. The juice is a love potion, which is applied to a person’s eyelids when he or she is sleeping. When the person awakens, he or she will fall in love with the first person they see. The first love transformation occurs when Lysander awakens to Helena, his soon-to-be wife’s good friend (Act II, scene ii, lines 103-107). The second transformation occurs when Titania awakens to see Bottom, who has undergone a transformation of his own (Act III, scene i, lines 129-224). The third transformation occurs when Demetrius also awakens to see Helena, whom he had earlier claimed to be sickened by (Act III, scene ii, lines 137-144). Another type of transformation occurs between Hermia and Helena. At the beginning of the play, both Demetrius and Lysander were in love with Hermia, although she was only in love with Lysander (Act I, scene i, lines 22-45). Helena, was in love with Demetrius, but he did not like heart all (Act II, scene i, lines 188-194). By the middle of Act II, because of the love potion, Lysander had fallen in love with Helena. By Act III, Demetrius had also fallen in love with her, for the same reason. Neither Demetrius nor Lysander loved Hermia anymore, but both loved Helena. This is the opposite scenario of what the play opened with. A physical transformation occurs when the mischievous Puck oversees the craftsmen rehearsing their play. He decides to play a joke and transforms Bottom’s head into that of an ass’s (Act III, scene I, lines 102-105). When the other craftsmen see Bottom’s head, they are scared and run away, leaving puck v... Free Essays on Midsummer Night's Dream The role of women and the supernatural are obvious themes present in the Shakespeare play, A Midsummer Night’s Dream. These themes are used currently as well; however during the Elizabethan Era they had very different understandings. The role of women was used in a more negative context and the supernatural was more commonly believed than it is today. Compared to men, women were treated as a lower society of persons during the Elizabethan time. They were expected to cook, clean, care for the children, while look beautiful if in a upper class family and be hard working if in a lower class family. Women were not ranked how men were. They were characterized based on their sexual background or their marital status. The father was the head of the household; so whatever he said was the law of the house. The wives could not disagreed or question a decision her husband made unless she did it with humility and meekness. If the father sticks with what he has already said, his wife must accept this and forget about it. The wife is the rock of the family. She must make sure her family is always stabile, emotionally and morally. In the family daughters must be well mannered, good-looking, and pure. Also, she must marry a man that will benefit the social position of her entire family. The daughters cannot even think about marriage unless her parents, mostly her father has approved. Man is considered to be the top ruler in the family, as well as outside the family. The Elizabethans had many reasons why the man, particularly the husband was the top authority. One reason was that God appointed him to this position when man and woman were created. Women were expected to do and say what their husbands wished of them, whether it went against their beliefs and feelings or not. As long as she doesn’t go against God’s will, she can go against herself as often as needed to. Another theme is the supernatural, particularl... Free Essays on Midsummer Night's Dream Midsummer night's Dream A Midsummer Night’s Dream; Theme of Love In Shakespeare’s play A Midsummer Night’s Dream, one of the main reoccurring themes is love. Shakespeare writes of love that is passionate and impulsive, or sensible and reasonable. In Act three, Bottom, a crude commoner states on opinion of love. "And Yet, to say the truth, reason and love keep little company together now-a-days; the more pity, that some honest neighbors will not make them friends." (Act III, Scene i, line 136) However, in many ways, reason and love are already much more closely linked in their society than the modern day reader is used to. Shakespeare has one example of real love in this play: Hermia and Lysander^s. Their love is pure and simple. They have no reason to be in love with each other, but yet have hopelessly fallen so. This is Shakespeare^s symbol of ultimate innocence. However, often with innocence comes abuse of that quality, as in A Midsummer Night^s Dream. Egeus, Hermia^s father, feels th at Hermia is too innocent to choose her own husband, and that it is his place to choose one for her. Although perhaps he is only doing this to ^protect^ her, it shows his opinion of Hermia^s incompetence. He illustrates this value system when explains to Theseus "And, my gracious duke, This man hath bewitch^d the bosom of my child. Thou, thou, Lysander, thou hast given her rhymes, And interchanged love-tokens with my child^ With cunning hast thou filch^d my daughter^s heart, Turn^d her obedience, which is due to me, To stubborn harshness." (Act I, Scene I, line 27) In many ways the opposite of real love, Hermia and Demetrius^ relationship is symbolic for practicality and sensibility. Hermia does not love Demetrius and refuses to marry him. It is not even clear what Demetrius^ motives are. One can speculate, however, that he desires to marry Hermia for her money or respectable family. Whatever the reasons, it is apparent that this relationship is...

Internal Conflict in Barn Burning by William Faulkner Essay Essay Example

Internal Conflict in Barn Burning by William Faulkner Essay Essay Example Internal Conflict in Barn Burning by William Faulkner Essay Paper Internal Conflict in Barn Burning by William Faulkner Essay Paper Essay Topic: Equus The Chrysanthemums The plants â€Å"Barn Burning† by William Faulkner and â€Å"The Chrysanthemums† by John Steinbeck at first glimpse may look to hold no connexion. but in malice of different secret plan they focus on similar thoughts. The narrative â€Å"Barn Burning† by William Faulkner discusses the interior struggle within Sartoris Snopes. a immature male child who faced a quandary. He tries to do a determination of taking between to lieing in the tribunal under his father’s pressiure who does non desire to acquire into the gaol and moving against his male parent by stating the truth. The chief character is influenced by Abner. his male parent. who tells him. â€Å"You got to larn to lodge to your ain blood or you ain’t traveling to hold any blood to lodge to you. † ( P 496 ) . I think this quotation mark reflects the chief issue of the narrative. which is about blood ties. And we clearly see how Sarty is affected by these blood ties. Faulkner depicts the interior struggle and quandary that the chief character faces. We start to understand the moral quandary of the chief character from the beginning of the narrative. I think Faulkner make us believe about the inquiry: at what point should a individual make a pick between what his parents and or household believes and his ain values? The state of affairs in which Sarty’s struggle is developeded is a test. In this test Sarty is asked. † I reckon any male child named for Colonel Sartoris in this state can’t aid but state the truth. can they? † ( P 154 ) . The immature male child. Sarty. someplace deep in his bosom has a feeling that he wants to move in a right manner. but as he is oly 10 old ages old. I think it is difficult for him to do steadfast determinations. His feelings and ideas are influnced by his male parent. who pressures him. seeking to forestall himself from penalty in the tribunal. We besides understand that Abner makes his son battle with himself by the manner Sarty describes him. Abner does non talk much. We see this in the manner he communicates with his household and other characters. He is a individual with so much pride that he is ready to make anything to avenge those who do something incorrect to him or seek to have him. even if he has to interrupt the jurisprudence. The pick that a immature male child has to do bases between his household and scruples. When Sarty Snopes considers that he has to do a determination of taking between blood. which is his responsibility to his household. and his ain morality. Sarty’s male parent stesses the value of trueness to the household. He states. thatif he does non lodge to hi blood. he will non hold any blood to lodge to. Sarty tries to do himself believe this and even starts a battle with a male child for dissing his male parent. At first Sarty wants to be a moral individual. He is really really disquieted that he has to lie talking to the justice. but he is still traveling to make that. cognizing his male parent wants him to make so. As Sarty respected Abner for his values. he thought he could endorse up him. The male child believed his male parent was a courageous adult male in the war. and that he wanted to direct a warning beforehand with a slave so that no 1 was hurt. The conflict between listening to his ain bosom and make up ones minding to follow his household is the hardest battle of Sarty’s life. He understands that it is non right to hold with his father’s suggestions. but he is non interested in disreputing his male parent by differing with him. The writer explains that if he was older he would â€Å"resist the universe and seek to alter the class of its events† ( P 379 ) . Sarty learns that he does non necessaruly need majority in irder to decline Abner ; at foremost he defends his male parent. but eventually his decided to listen to his bosom. which wants to assist those who were harmed by obstinate and dogmatic Abner. Sarty warns the people in the large white house and goes down the route. Soon Sarty hears a a few shootings. and he thinks that his male parent and brother are caught by the landlord and are shot by him. Regardless of what indeeed happened. he understands he can neer return. The male child merely continues to walk. and he does non look back. At this minute Sarty’s blood ties are broken. and he gets rid of the fright of his father’s wrath. The chief character is free now. But his freedom requires paying some monetary value. I think that the male child still feels some sort of blood tie. described by the writer. and he made this pick with a batch of feelings on both sides of the issue. Sarty still cares for his household in some sense. he still feels love towards his male parent. even though he understands that what his father’s workss are incorrect and he truly had to halt them and discontinue to be a portion of them. The fact that the male child is non able to come back place is non a inquiry of his pick. I think he merely canont travel back. So. Sarty’s bosom still suffers from some struggle that is non truly resolved. even though the state of affairs has truly changed. As I have already discussed. at the beginning of the narrative Sarty feels a strong commitment to his male parent. nevertheless. eventually we learn that his positions change radically. The point of apogee is at the terminal of the narrative when Sarty has warned Major de Spain of Abner’s purposes to fire the barn. I think that the chief character experiences the explosion of emotions. running down de Spain’s thrust and hearing Major’s Equus caballus galloping behind him. The declaration to the struggle comes when Abner and his senior boy are shot. But the existent solution happens at dark after Abner’s decease. when Sarty is sitting upon the crest of a hill believing about his actions and future life. Faulkner proves us that it is impossible to sruggle with one’s ain bosom. The minute when Sarty decided to take morality over the blood pool and warned the de Spain’s revealed his true character. Though this meant the decease of his male parent. Sarty didn’t sorrow of warning de Spain. Alternatively. it looked like the male child was seeking to subsitute his memories of his male parent by some honest. good individual. who had strong strong beliefs. In his narrative â€Å"The Chrysanthemums† John Steinbeck besides reveales the struggle of a human bosom. which is connected with women’s unrealized demands and desires. The writer stresses that as human beings we have to appreciate each other. otherwise finally we will do our lives dark and tragic. The chief character. Elisa Allen. is defeated with her present life. She is plagued with no kids and her hubby is non able admire her romantically as a adult female. The lone thing that helps her to quiet down is her flower garden where beautiful chrysanthemums grow. Steinbeck shows Elisa’s ideas nad feelings about her inner ego by picturing those chrysanthemums. The narrative presents the thought that grasp by the people who we love is an component of human being. When Elisa was acknowledged by her hubby. said. â€Å"maybe I could make it. excessively. I’ve a gift with things. all right. My female parent had it. She could lodge anything in the land and do it grow† ( P 1261 ) . At this minute the adult female feels her husband’s grasp for noticing on her fantastic flowers. This thought of acknowledgment is shown by John Steinbeck to show the demand for a felling of credence. Feeling a strong demand for credence. Elisa turns to a alien and makes efforts to be appreciated. While Elisa negotiations to this alien. their conversation connects to the kingdom of Elisa’s flowers. â€Å"Elisa’s eyes grew watchful and eager. ‘She couldn’t have known much about chrysanthemums. You can raise them from a seed† ( P 1264 ) . This depicts Elisa’s felicity and passion. as she has an chance to be appreciated through her flowers once more. By undestanding the value of Elisa’s flowers. the alien truly accepts the adult female. as her flowers are in some sense the look of herself. They are everything Elisa possesses. being sometimes valued by her hubby and besides being valued by the alien. â€Å"†¦ her eyes shone. She tore off the battered chapeau and shook out her dark pretty hair† ( P 1264 ) . In this quotation mark we see that Elisa opens her bosom up to the alien. She â€Å"tore off† the chapeau to liberate herself from the work which was non appreciated. and revealed her existent beauty to the alien. By moving so. Elisa is prepared herself to acquire the gratitude from the alien. the gratitude that she did non have frequently from her hubby. . After the tinker departs. Elisa is looking frontward to her eventide with her hubby. She hopes Henry will acknowledge her demands as a adult female and supply her with the love affair and passion which she desires. But this hope is rapidly broken. The best best compliment on her visual aspect that Henry makes after she has changed is. â€Å"You look strong plenty to interrupt a calf over your articulatio genus. happy plenty to eat it like a watermelon† ( P 393 ) . This uncomplimentary remark on her visual aspect does non make much for Elisa’s self-importance as a adult female nor toward her feelings toward her hubby. Elisa’s hope is eventually destroyed. as she finds the flowers on the route. The adult female feels that her psyche is wholly emptied by the tinker’s thoughtless rejection of her feelings. Merely like her hubby. he has failed to value the qualities that make her unique as a adult female. This symbolic act has vanished her hope. Elisa realizes that her life will non alter. Henry will non to the full appreciate or understand her muliebrity and gender. She has to l earn to be content with such unreflective hubby and her atrocious matrimony. She realizes that her desolation is truly complete and leaves her â€Å"crying weakly-like an old woman† ( P 394 ) . The chrysanthemums stand for the symbol of Elisa’s function as a adult female. At the get downing they symbolize her kids. subsequently they represent her muliebrity and gender. Elisa feels that her life destroyed her psyche because she lacked kids and love affair in her matrimony with Henry. Finally. her hubby fails to appreciate her feminine qualities and her emotional demands. The brush with the tinker reawakens her gender and Elisa starts to trust that she still has a opportunity for a more exciting and romantic matrimony. However. seeing the flowers on the route she realizes that there will non be any alterations in her life. Finally. her psyche is devastated by such a suffering and uhhappy life. I think that in contrast to the interior struggle. which Faulkner’s Sarty experienced at the beginning of the strory and resolved at the terminal. Steinbeck’s Elisa faced different state of affairs. She had some hopes that her life will travel in the desirable manner. but all her outlooks failed. In my sentiment. in malice of the struggles which different natures. both writers proved in their plants that if human bosom comes into the struggle with itself. it brings enduring. But I think that it is deserving to endure like Sarty for the interest of deciding the struggle ; nevertheless. life turns into the calamity. when the struggle. like in Elisa’s instance. is the concluding of a person’s dreams and outlooks. Bibliography 1. Faulkner. William. Barn Burning. Bedford Introduction to Literature. Boston ; Bedford/St. Martin’s. 2002. 2. Billinglea. O. Fathers and Sons: The Spiritual Quest in Faulkner’s ‘BarnBurning. Mississippi Quarterly: The Journal of Southern Culture 44. 3 ( Summer 1991 ) . 3. Fowler. Virginia C. Faulkner’s ‘Barn Burning’ : Sarty’s Conflict Reconsidered. College Language Association Journal 24. 4 ( June 1981 ) . 4. Steinbeck. John. The Chrysanthemums. Fiction: A Longman Pocket Anthology. Ed. R. S. Gwynn. Second Ed. New York: Longman. 1998. 5. Beach. J. John Steinbeck’s Authentic Characters. Readings on John Steinbeck. Ed. Swisher. Clarice. San Diego: Greenhaven. 1996.

How to Draw Contour Line Art 4 Key Steps

How to Draw Contour Line Art 4 Key Steps SAT / ACT Prep Online Guides and Tips Have you heard about contour line art but aren’t sure what it is? The good news is that you’ve likely already made dozens, maybe even hundreds, of contour line drawings throughout your life without realizing it! Contour drawing is one of the easiest and most effective ways to improve your hand-eye coordination and drawing skills. In this guide, we explain what contour lines in art are and how you make contour line art. We also suggest different contour drawing exercises so you can keep improving your skills. What Is Contour Line Drawing? Contour line art is a method of drawing where you draw only the outline of an object, without any shading. â€Å"Contour† actually means â€Å"outline† in French, which is where the name comes from. For example, if you wanted to do a contour line drawing of a pear, you’d simply draw the outline of the pear, add a stem, and stop there. Some contour drawings will include outlines of important interior shapes (such as wrinkles in cloth or objects on a bookshelf), but contour drawings will never contain shading or minute details. Because you’re focusing on just the shape of an object and not any minor details, contour line art is a great drawing method for beginning artists as well as those looking for some quick drawing exercises. Children, as well as people without a lot of experience drawing, typically make contour line drawings without realizing it, simply because this method is one of the easiest and quickest ways to begin drawing. However, just because contour line art is easy to start doesn’t mean it’s only meant for beginner artists or those who don’t have the skills to do more detailed drawings. Contour line art has many uses, even for highly-experienced artists. Many artists will begin a project with a contour line drawing to get a quick sense of the piece’s composition, then they’ll later go back and add more details. Contour line art is also a good way to become more skilled at replicating the outline of an object and developing hand-eye coordination (which we’ll explain more about in the next section). If you can’t create strong and accurate outlines of an object, the piece will still look unfinished or slightly â€Å"off† even if you add in lots of details and embellishments. Professional artists have used contour art for centuries. Cartoonists often use contour art in their finished pieces, the ancient Greeks used it when decorating vases, and da Vinci frequently made contour line drawings when doing figure studies. It’s an essential skill that every artist should know and practice regularly. The image on the left is an example of contour line art. The image on the right is NOT because it includes shading. How to Draw Contour Lines in Art In order to get the most from your contour line drawing practice, follow these four steps when making contour art. Step 1: Choose What You’ll Draw and Gather Materials For your first contour drawing, we recommend choosing just one object to draw, as this will be easier to focus on than several objects. Put the object or place your seat in a spot where you have a clear view of the object. For materials, you’ll need a drawing tool (pencil or charcoal is most common), and paper or a sketchpad. If you’re using loose paper, you may want to tape it to something so it doesn’t move around while you’re drawing. Now you’re ready to begin! Step 2: Look at the Object It may surprise you to learn that, when you’re drawing contour lines, you want to spend most of your time looking at the object itself, not at your sketchpad. This can be really difficult when you first start doing it, but that’s the point! Contour drawing forces you to really notice and work to replicate the outline of an object. It trains your hand to follow what your eye sees. Start by spending about half your time looking at the object and half your time looking at your paper, and gradually work your way up to looking at the object 90% of the time. This will feel strange initially, and your first drawings will probably look a little wonky, but just keep practicing! As you develop your hand-eye coordination, it’ll feel much more natural, and your drawing skills will improve as a result. You also want to make sure that you’re capturing as much detail of the object’s outlines as possible. If there’s a notch or a warp in the object, make sure your drawing represents that. Contour art is all about replicating the form of an object as closely as possible. Step 3: Draw Long, Continuous Lines Many people new to contour art begin by drawing lots of short lines because they aren’t used to not looking at their paper, and they don’t want to make too big of a mistake by drawing a long line that doesn’t follow the object’s lines.However, you’ll improve your drawing skills more if you draw fewer, longer lines. Drawing longer lines, especially without looking at your paper, improves your hand-eye coordination and helps you become more confident when drawing. Step 4: Go Slow and Steady It can be tempting to rush through contour drawing exercises, especially if you’re used to drawing detailed pieces where the outline is only the first step. Remind yourself to slow down and concentrate on replicating the outline of the object as perfectly as you can. At the same time, don’t freeze up while you’re drawing. Especially when you first begin contour drawing, you may feel tempted to take breaks to compare your drawing to the actual object. Resist this urge! Remember, you want to spend very little time looking at your paper and more time looking at the object. Just concentrate on closely observing the object, keep drawing steadily, and pause and critique your work once you’ve finished. There’s no â€Å"correct† amount of time to spend on a contour drawing, and it’ll likely depend on what you’re drawing. However, about 5 to 20 minutes per drawing is average. Contour Line Drawing Practice Exercises Now it’s time to put all this new art knowledge to the test! In this section are eight contour line drawing exercises you can do to improve your drawing and observation skills. #1: Make a Contour Drawing of Your Hand If you aren’t sure where to start with contour line art, start with something right in front of you! Hands are a very common object to do a contour drawing of, so once you finish, you can look online or in art books for lots of other examples of contour drawings of hands to compare to your own piece. When you’re drawing, remember to aim to look at your paper only 10% of the time. #2: Copy a Contour Line Drawing by Another Artist If you’re still getting the hang of contour art and are not quite sure how to tackle a real-world object, start by replicating another artist’s contour line drawing. Remember to look more at the object than at your paper, and focus on replicating the lines as closely as possible. #3: Do a Blind Contour Drawing A blind contour drawing means that you don’t look at your paper at allnot even for a single secondfrom the time you begin your drawing until the time you finish. Cover your canvas or sketchpad if you need to.Expect your drawing to look a little funny, especially if it’s your first time doing a blind drawing, but this is a great way to improve those hand-eye-coordination skills and learn to really focus on whatever it is you’re drawing. #4: Draw the Outline of an Object With One Continuous Line This takes the concept of drawing long lines even further. For this exercise, you’ll draw the object in one continuous line, never lifting your pencil from the paper until the outline is complete. Again, these drawings will look strange at first, but as you practice, you’ll improve your drawing skills and your ability to recreate the lines you see in real life. #5: Make Five Contour Line Drawings in Less Than One Minute Each Sometimes you just need a quick exercise to get your creative juices flowing, and contour art, because it doesn’t get into the details of objects, is great for this. This exercise involves drawing five contour line pieces in less than five minutes. You can draw five different objects, draw the same object five times, or a combination. Because you’re only spending a minute on each object, you’ll need to be able to replicate its form quickly but accurately. #6: Draw an Object You Know Really Well Choose something you’re very familiar with, such as a favorite childhood toy, the dresser that you’ve looked at every day of your life, or even a pet or friend, and make a contour line drawing of the object. This may be harder than you think. Because you know the object so well, you may be tempted to add in lots of detail, but remember, contour art focuses on the outer edges of the object. This is a good way to remember what’s important in contour art and what you don’t include. #7: Use Cross Contouring to Add Dimension Cross-contour lines are a way to add depth to your contour drawings without adding shading. To add them, you’ll draw parallel lines that run across the object, similar to those you might see on a topographic map.See examples here. Cross-contour lines will help improve your observational skills and learn more about the rules of perspective by requiring you to pay close attention to the outlines of an object and how the lines run across it. The parts of the object that are closer to you will have cross-contour lines closer together, while the more distant parts of the object will have lines further apart. #8: Draw an Object That's Upside Down Once you’ve gotten the hang of contour line art, try drawing an object upside down! You won’t be able to rely on your memory as much since the object will be flipped, so this will exercise really force you to pay attention to the object’s form as you observe it. Summary: Contour Line Art Contour line definition art is a great way for any artist, whether beginning or advanced, to hone their drawing and observation skills. Contour line drawing involves only drawing the outline of an object, without any shading. When you do contour lines in art, you should spend the majority of the time looking at the object, not your paper, in order to improve your hand-eye coordination and really get a good sense of what the object looks like. Once you feel comfortable with the basics, there are many contour line art exercises you can try out to keep growing your skills! What's Next? Are you making an art portfolio to apply to art schools?Check out our guide to learn everything your art portfolio must include to stand out from the crowd! Now that you know how to create a portfolio, are you wondering what art programs you should apply to? Check out our guide on the best art schools in the United States! Want more drawing exercises? We have a guide with over 100 drawing ideas to keep your artistic skills sharp! Have friends who also need help with test prep? Share this article! Tweet Christine Sarikas About the Author Christine graduated from Michigan State University with degrees in Environmental Biology and Geography and received her Master's from Duke University. In high school she scored in the 99th percentile on the SAT and was named a National Merit Finalist. She has taught English and biology in several countries. Get Free Guides to Boost Your SAT/ACT Get FREE EXCLUSIVE insider tips on how to ACE THE SAT/ACT. 100% Privacy. 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In Donoghue v Stevenson (1932) Lord Atkin attempted to create a basic Essay

In Donoghue v Stevenson (1932) Lord Atkin attempted to create a basic principle which could be used in all cases to decide whether or not duty of care is owed t - Essay Example of Murphy v Brentwood DC3 overruled this two fold test laid out in Anns and the liability of a violater of a duty of care was assumed to go beyond merely monetary considerations. This is what finally led to the development of the duty of care owed by every person towards another as laid out in the case of Caparo v Dickman4, which is the foundation of most tort cases today, with some contractual breaches also falling under the tortious breach of duty of care. The case of Donaghue v Stevenson5 was one of the first cases to establish the fact that remedies could exist in tort on the basis that all owe â€Å"a duty of care† to â€Å"their neighbor† and Lord Tomlin stated that â€Å"†¦acts or omissions which any moral code would censure cannot in a practical world be treated so as to give a right to every person injured by them to demand relief.† On the basis of a moral principle that every person owes a duty to other people because they are neighbours, Lord Atkin refined this further by clarifying a duty of care that one owes to a neighbor as follows: â€Å"The rule that you are to love your neighbour becomes in law, you must not injure your neighbour†¦.you must take reasonable care to avoid acts or omissions which you can reasonably foresee would be likely to injure your neighbour.†6 The case of Donaghue laid out the general principle that since every person owed others a duty of care based upon the fact that they were neighbors, therefore any breach of that duty could prove to be adequate grounds for seeking damages. However, the criteria and qualifications of this duty of care were explored in the economic context in the case of Anns v Merton Borough London Council7 wherein it was held that economic losses caused by a breach of contract that occurred through negligence would be valid and actionable under tort law. A two way test was set out in this case as follows: (a) was there a sufficient neighbour relationship or a level of proximity between the two

Lost in Translation Essay Example | Topics and Well Written Essays - 1000 words

Lost in Translation - Essay Example Even though globalization has enabled many individuals to have a culture that they can lean back on as depicted in "Globalization" by Maria Jerskey, there are thousands and thousands of individuals who are caught in between foreign cultures or are surrounded by languages that they can neither comprehend nor understand. Therefore, despite the fact that globalization has brought communities together as shown in "Globalization" by Maria Jerskey, it has also brought identity, cultural, language, and ethical challenges as depicted in  "Lost in Translation" Eva Hoffman. The term identity simply refers to who a person is. This term is however paradoxical in the sense that it can be used to refer to ‘sameness’ (what individuals from different groups have in common) and ‘uniqueness’ (the inimitable and distinct traits of individuals). Identity in Lost in Translation can be taken as being central. The problems faced by Hoffman are much more than merely linguistic ones (Ueda para. 2) since define her identity and self-definition. Globalization has enabled the relationship between an individual’s innate identity, enacted identity and language. In â€Å"Lost in Translation,† Hoffman loses the concept of her individuality through her inability to express herself in a new environment. For instance, she says that she becoming a very serious and stern person thereby ignoring the wit and irony available around her even though the irony is all around her. Although globalization has enabled Eva to interact with individuals from a new culture, it has created an identity challenge. Eva argues that she lives in a society whereby nobody gives her identity and therefore on has to re-invent herself each day (Hoffman160). Furthermore, Hoffman identifies that the frame of culture in America is stronger and thus it holds the individual personality more firmly as compared to her home country. This too confirms the complex relationship between

Commodities, mining, FDI, and the awakening Chinese dragon. Where next Essay

Commodities, mining, FDI, and the awakening Chinese dragon. Where next for China - Essay Example China’s open door policy does not only serve as the catalyst for the robust economic growth of China, it is considered as the primary impetus, strongest and decisive factor catapulting China as one of the most powerful economy in the 21st century (Chen 2012; Liu and Daly 2011; Yao 2006). This supposition is maintained on the premise that with the open-door trade policy of China, the country has become the preferred country of foreign investors and as such, recipient of numerous foreign direct investments (FDI) (Yao 2006). From 2000- 2011, China received the largest FDI inflows compared with other developing or transition economy (Davies 2012). In 2011 alone, China’s FDI inflows has reached US$124 billion compared with other countries such as Brazil with US$ 67 billion, Russia with US$ 53 billion, Singapore with US$ 64 billion, and India with US$32 billion (http://stats.unctad.org/fdi/). This shows the continued confidence of investors to China. China’s good perfo rmance in the 1997-1998 Asian crises and the recent global economic slump affirms the view that China’s economy is resilient and China offers a reliable risk-avoidance haven that is suitable for international investors (Davies 2012) as the country continuously moves towards becoming the world’s largest economy (Davies 2012). In this regard, the research will look into the impact of FDI in China with specific focus on the mining industry. This is important, as China is responsible for the net growth in world demands since 1995 (Evans –Pritchard 2012). In fact, just recently, China’s growth contributed to the appreciation of copper in the market (Rowley and White 2012).However, Rio Tanto has announced cost-cutting measures in operating costs across the business amounting to $ 5 billion by 2014, while BHP Billiton is diversifying its portfolio (Rowley and White 2012). In addition, there is apprehension across the mining industry since China is shifting to â €Å"modern, sleek, consumer and service driven economy† (Evans-Pritchard 2012,  ¶ 9). The slowdown in China’s economy and macro-volatility of the global market feed the apprehensions in the mining industry On the other hand, Vivoda (2011) argues China is mining industry continuous to lag behind other industries in terms of foreign investments. In fact, the government consistently reforms and rectifies foreign trade policies to attract investors in the mining sector of the country; nonetheless, foreign investors steer away from China because of uncertainty and lack of transparency within the mining industry (Suxun and Chenjunnan 2008). In the face of this dichotomy in position pertinent to China’s mining industry and FDI, the research may help in clearing some concepts that conflates the trepidation concerning China’s economic slowdown. In addition, some limitations are observed in terms of focus in existing literatures that deal with the issue (Vivoda 2 011). Most literatures tackle specific country/ regional concerns or undertake comparative studies (Vivoda 2011). In this regard, the study contributes to the existing literature, as it will try to explore the developments within China’s mining industry vis-a-vis FDI and understand the impact of the industry to the country as China moves towards bec