Ideas of parenting Essay Example | Topics and Well Written Essays - 750 words

Ideas of parenting - Essay Example t children should be left to be with just guidance and not using force to perfect as they are capable of making their own choices and loving them even in adulthood with just the right amount of motivation and guidance and this will build their self-esteem. A Chinese mother controls the lives of her children in every aspect. She acts like a dictator and her parenting style is that of an authoritarian parent. Her children are just supposed to listen and act as they are told and their opinion does not count. In fact according to Chua’s article, children are just supposed to accept everything they are told and not talk back or even question as this leads to negative consequences (Chua, 2011). This is the absolute opposite with the Western mother who lets her children be without using any force on them. Her parenting style can be termed as authoritative and can be compared to a democratic leader who allows the others to make suggestion and just guides them in these decisions or contributes to the ultimate final ruling after negotiations. These children raised by western mothers are allowed to state their opinion, express their likes and dislikes hence coming to a compromise with the parent (Rosin, 2011). Children raised by Chinese parents are not allowed from the word go to be children in the true definition of the term. They are not allowed sleepovers, participate in plays in school, engage in play time with others or even just be allowed to learn from their own mistakes. Their every decision and action is controlled and decided for them by their parent down to the type of musical instrument they will play, what grade they will get and nothing else. These children therefore do not get to develop a positive self-esteem. Some of them later resent their parents for their stolen childhood, they resent the music they were forced to play and even grow up bitter (Chua, 2011). The opposite is true for a western style of parenting. Children are allowed a lot of time to

Lease Versus Purchase Option Essay Example for Free

Lease Versus Purchase Option Essay In this essay I will try to explain or compare and contrast lease versus purchase option. In this explanation I will talk about what is deb financing, and will provide two examples. I will also talk about what is equity financing and provide two examples and last which alternative capital structure is more advantageous and why. In order to give two examples of what is debt financing I will give a brief description of what is debt financing. Debt financing is when a company borrows money that must be repaid but with interest. This does not dilute the ownership of the company. With that being said the two examples are Issue Bonds and Line of Credit. In the line of credit, this is a bank loan where a business can draw out funds whenever money is needed. In issue bonds the business can issue bonds as for of debt financing these bonds are marketable securities. (ehow.com 2013) Now equity financing is according to ychange.com (in equity financing, money is exchanged for a share of ownership in the business). The business in returns raises funds and does not incur in debt. The two types of equity financial is employee stock ownership and private investors. The employee stock is when a company sells stock to the employee. The private investors are possible investor willing to invest their money in the company. Which alternative capital structure is more advantageous? In my opinion and according to the definitions on my e-book I would have to say energetic-middle the reason for this would be because it is more advantageous for small business. It balances the return and risk of capital. After looking at all the definitions and examples, trying to compare and contrast lease vs. buying is not that difficult. This all depends on what do you want and if it is in a companies perspective then one must take into consideration the companies cash flow. For example if a company has lots of cash flow then buying is the option now if it wants to conserve capital for the near term then leasing is the best option. It all depends on what the company need at that particular time.

Drama In The National Curriculum Education Essay

Drama In The National Curriculum Education Essay The aim of this report is to understand where Drama stands in education within England at present. It searches for its mention within the National Curriculum and interprets what this means for the teaching of the subject. It looks at primary and secondary schools current trends towards Drama as a discrete subject, and argues the benefits and disadvantages of it having its own subject heading within the National Curriculum. The evidence will be evaluated and a conclusion formulated. 1. Drama in the National Curriculum. The National Curriculum website provides the most up to date information on how Drama is placed within the curriculum. At first glance Drama is absent but mention of it can be located, mainly within the subject of English. [See Appendix One for a description of the requirements and activities for Key Stages (KS) 1 2. (National Curriculum, 2011a)]. Whilst there are aims and objectives published for KS1 2, at KS3 4 there is mention of selected playwrights as subjects to be studied and the expectation that at least one Shakespearean play will be explored in depth at each stage (National Curriculum, 2011b c). References to the use of Drama appear under Literature [See Appendix Two] (National Curriculum, 2011d). For England the Teachernet (Teachernet, 2011), DFES Drama Objectives (DFES, 2011) and QCDA (QCDA, 2011) resources have been/are being decommissioned with edited highlights appearing in the National Archive. In fact most of the Government resources advocated by the Initial Teacher Education website for English are no more (ITE, 2011a). The Department of Education website is replacing it, but the only suitable material found for Drama is an item for the Speaking and Listening element at KS1 2 dated 2004 (Department of Education, 2011). In Ireland drama is within the arts sector, alongside visual arts and music. The strand is Drama to explore feelings, knowledge and ideas, leading to understanding. They expect that when this subject is taught correctly it can help children at a young age to understand/relate and deal with life situations that can occur (Irish Curriculum, 2011). Whilst Drama is placed firmly in Arts Education as a trio with the visual and aural mediums, there is little support to be found in their Curriculum Planner as well (NCCA, 2011). Compare this to 52 resources for Drama in the Scottish Curriculum (Scottish Curriculum Resources for Drama, 2011). In Northern Ireland Drama is mentioned in Language Literacy and has its own subject within The Arts and resources are well provided (N. Ireland Resources, 2011). At KS1 2 the statutory subjects that all pupils must study are art and design, design and technology, English, geography, history, information and communication technology (ICT), mathematics, music, physical education and science. Religious education must also be provided at KS 1 and 2 (National Curriculum, 2011e), although there is a non-statutory program of study. From the National Curriculum (2011e) for Religious Education there are the following two points: 1). Explore how religious beliefs and ideas can be expressed through the arts and communicate their responses. 2). Using art and design, music, dance and drama to develop their creative talents and imagination. Art and design does not mention drama until KS 2 as follows from the National Curriculum (2011f): Exploring a range of starting points for practical work [for example, themselves, their experiences, images, stories, drama, music, natural and made objects and environments]. Yet making puppet theatres, and also creating atmosphere in sounds, lighting, backdrops and costumes for full size plays would make the subject more fun whilst defining a practical purpose for the work. Drama in a similar way should be a fertile ground for scenery and special effects within Design and Technology yet it is not mentioned at all (National Curriculum, 2011g 2011h). Music and Physical Education in a similar vein have a relationship to Drama through Dance but there is no credit for it. History could conceivably use period dramas to illustrate points and the appreciation of accuracy in the texts and writers bias would then be covered in Drama. Stenhouse (1981, p.29) is against the idea that Drama is for teaching other subjects in the curriculum and rejects the imagined realities of Drama for the authenticated realities of pure history. ICT could provide a multi-media back drop similar to that of exhibition trade stands and modern performances that use computerised effects and giant screens. When the National Curriculum was being formulated teachers were vocal in their disapproval of the many curriculum subjects being loaded into the National Curriculum, such that subjects were curtailed following Music and Art (Baldwin, 2011). As the (NCCCE, 1999, p.75) report states there are more than ten subjects in the world. It also notes that Dance is not found with sport, games and athletics after education and that Drama is not just verbal. (NACCCE, 1999, p.76) points out that of all the countries in the QCA/NFER INCA archive, England was unique in having 10 discrete subjects from KS 1-4. When the National Curriculum was introduced, specialist drama practitioners eagerly awaited the National Curriculum for Drama. They are still waiting.  (Baldwin, 2011). Drama as part of English in the National Curriculum. One of the ongoing debates about the nature of English centres around its relationship [sic] the creative arts. Is English an Arts based, creative discipline, or a much more functional, competency led subject?, and Is Drama itself an Arts based discipline or a method of education, a form of learning? (ITE, 2011b) The role of drama in the curriculum remains in practice very much in doubt. It is believed that future employers have been unhappy with general educational standards of school leavers. A contributionary factor to this low estimation (for the subject) has been the political shift from a liberal view (of the centrality of aesthetic and artistic experience in education) towards a more vocationally orientated view in which the secondary curriculum is seen rather as a feeder of commercial, industrial and post-industrial requirements as they have been immerging in recent years. (Morton, 1984, p.56). The Arts Council England (2003, p.6) explains that all pupils minimum statutory entitlements for the study of Drama are acknowledged within the National Curriculum for English. According to Ashcroft Palacio (1995, p. 196), The national curriculum firmly places drama within the English domain. Neelands (2008, p.1) refers to the National Curriculum as the English Model where, Drama was first introduced into the secondary curriculum through the English curriculum and timetable. He amusingly cites the fact that Shakespeare was English to explain how we arrived at this unique position, which has not been followed elsewhere in the world except maybe Wales (Welsh Curriculum KS 1 (2008) Welsh Curriculum KS 2-4 (2008) where Drama is mentioned within English and to a lesser extent Welsh. Drama as a subject in its own right is not present in the primary curriculum, but as a part of English or R.E, or furnishing other areas and cross curricular themes. Even though Drama is absent from the curriculum for primary schools, it is still present through the activities and lessons which are taught using drama, many primary schools already include drama in their curriculum, without realizing that the activities the children are involved in are actually drama. (Arts on the move, 2010). For High School teachers, it can be a problem for them to know what to expect of pupils entering KS 3, this is because of the lack of continuity in Drama across all the Primary Schools, therefore only an educated guess can be made on the pupils prior drama experiences. Neelands (2004, p.9) offers 6 points of common reference which can be found in Appendix Three. According to Neelands (2008, p.2) statistics show that, à ¢Ã¢â€š ¬Ã‚ ¦many schools in England do offer drama as a separate timetabled subject in Key Stage 3 and this makes drama the only subject in the English system which is unregulated in terms of a nationally agreed curriculum beyond the references to speaking and listening in the Orders for English. So only at KS 3 do some pupils get the opportunity to take Drama as a separate subject but it is still an unofficial one. Whilst this offers a complete freedom in how the subject is taught and presented [see Neelands (2004, p.5) for three different approaches at secondary level], it also means there is little in the way of a safety net for its practitioners that standards, assessments, guidelines and official support can provide. So it would appear that Drama has become a Cinderella subject that is busy working in the shadows whilst the Ugly Sisters of English and Religious Education take all the credit. 1.2 How we got to where we are now. Most of what young people know of the world, they know through representations of it. (Neelands, 2008, p.9), suggesting that schools have a moral obligation to help shape the citizenship of their stundents. There is little time allotted in the daily routine for drama in early childhood education settings, due to the pressure that many teachers feel to cover too many materials in too little time. (Jones and Reynolds, 1992, p.7). This suggests that head teachers and teachers are forced to focus their concentration and resources on the subjects the really matter For example, those subjects that are recorded as National statistics, showing how many A* C students have obtained; in particular on Maths, English and Science. Drama being mentioned in the curriculum saw a mixed reaction. Some celebrated the fact that Drama would now have to be taught. Others were quick to point out that there was a fundamental flaw here. There were few trained Drama teachers left. The reality has been, that hardly any Drama is happening (in Primary)  despite the fact that it is deemed statutory. (Baldwin, 2011). Yet Neelands (2008, p.1) states that, In the English education system, all students in the 5-16 age range have an entitlement to drama within the National Curriculum Orders for English. Baldwin (2011) the president of the International Drama/Theatre Education Association provides a background to how Drama fell from grace, how a timely reaction to the rigid curriculum being built subject by subject stopped it being included at the eleventh hour and then, as it was no longer a subject, support for it fell away. Practitioners were left high and dry, as Drama was no longer part of Ofsted unless a fee was paid to assess it, which in one case ended up being marked as a Satisfactory P.E. lesson. Dearing tried to soften the curriculum but then came the constraints of the National Literacy Strategy which concentrated on reading and writing for the Literacy Hour at the expense of speaking and listening. However Winston Tandy (2001, p.75-86) in their chapter entitled Drama and literacy provid e some ideas for including Drama within the hour. Then at Secondary level we find a carte blanche where anything goes with Drama either as a separate subject taught by a Drama specialist or as a continuing addition within English or as another entity, which perhaps suits the more pronounced different streams of ability. Neelands (2004, p.5-6) noticed that the various sources of national guidance for Drama, for example the specific references to Drama in the Programs of Study for English showed a general agreement for the aims and objectives for Drama, such as: Drama as personal, social and moral education Drama as English Drama as a subject in its own right. As stated earlier he cites three very different secondary schools each illustrating one of these points as their individual approach to Drama. The demands of a nationally prescribed curriculum put considerable pressure on teachers to fit everything in; each subject has it own expectations and makes its own particular demands. Finding the time for Drama, however highly you and your class may value it in its own right, can be difficult- the more so if we are going to give the Drama time to develop, deepen the childrens involvement and understanding, and reach a satisfactory conclusion. (Winston Tandy, 2001, p.54) Ashcroft Palacio (1997, p.6) infer that longer serving teachers will find the prescribed nature of the National Curriculum and all its revisions to be a bone of contention. On the other hand The lack of core guidance for Drama, the parallel development of Drama within English with its development as a discrete Arts subject, together with the diversity of models of curriculum and assessment to be found in schools make it a particularly problematic area of English teaching for trainees. (ITE, 2011c) Especially as: School Drama Co-ordinators disappeared almost overnight, as did LEA Drama Advisers and advisory teachers.   Drama courses became few and far between, relying more and more on professional organisations, which were and are run voluntarily, by increasingly stretched full time teachers and lecturers. (Baldwin, 2011). CHAPTER TWO ARGUMENTS FOR DRAMA BEING A DESCRETE SUBJECT As part of a broad and balanced curriculum, drama has a significant contribution to make (Winston Tandy, 2001, p.73). Drama, more than any other subject in the curriculum, mirrors life as it is lived and experienced (Winston, 2004, p.18). Please see Appendix Five for some positive results Winston (2004) notes as being seen in childrens writing due to their involvement with Drama.At least a national agreement provides some external, relatively objective and visible materials to discuss (Neelands, 2004, p.6). However, the absence of a nationally agreed framework for Drama gives two points of concern; The individual Drama teacher has no external framework to follow, therefore the success of the Drama class is completely at the mercy of the ability or lack thereof of the teacher; How Drama is perceived at the school may well be based on the head teachers predilections and prejudices. To illustrate this point I found at X High School, where the author has experienced Drama via a teaching training day placement, it was noticeable that Drama is thought of as a high priority subject. This was thanks to the Head realising that in a catchment area of high poverty Drama provided interest and expression for children that found reading and writing difficult. The school used Drama also as a marketing tool to promote itself to the wider community and its governors. It held annual Drama productions, school assemblies were punctuated with Drama in the form of funny sketches or more serious pieces designed to entertain and inform, it supported fundraising activities etc. Drama here is a timetabled subject throughout all the year groups, and is offered as an A-level subject. As Ashcroft Palacio (1995, p. 196) advocate, Primary school pupils can develop through drama an extensive range of language uses, including the majority of those referred to in the national curriculum. à ¢Ã¢â€š ¬Ã‚ ¦drama is a social process of making meaningà ¢Ã¢â€š ¬Ã‚ ¦the framework and method of drama provides a unique context for developing a sense of identity and productiveness. (Morton, 1984, p.37). All Our Futures had already clearly recognised the importance of Drama, both as a creative teaching and learning medium and as the most powerful pupil motivator:  OFSTED data on pupil response to learning indicates drama to be at the very top in motivating learning (NACCCE, 1999, p.77). Drama in education can help pupils learn and understand whatever is required, in ways that are emotionally, aesthetically and cognitively connected and meaningful to children who are natural dramatic players. CHAPTER THREE ARGUMENTS AGAINST DRAMA BEING A DESCRETE SUBJECT à ¢Ã¢â€š ¬Ã‚ ¦drama is a process that cannot be divided into a series of discrete and accessible outcomes in the kind of way that curriculum theorists have managed to do with many other subjects in the curriculum (Young, 1981, p.94). Baldwin (2011) states: Trainees are likely to encounter a diverse range of arrangements for drama within schools. In the absence of national orders and a statutory subject framework, schools are free to design their own local variations of a drama curriculum based on the specific value given to drama in a particular school. Cynics were heard to mutter, that with an assessment driven curriculum emerging, process based drama would be too problematic for SCAA (as it was then) to deal with.   Assessment in Drama has always been tricky as so much goes on cognitively and emotionally during the Drama process that is not easy or even possible to assess.   It is noted that this argument appears amongst many professionals, but no suggestions as to what criteria could be used is suggested. Is this because they believe there is to be none. Baldwin, (2011) continues. Assessment records were being revealed as lists of statements of attainment tick boxes and needed to be based on easily observable, extrinsic outcomes suggesting that Drama specialists were not sure they wanted such a meaningful and aesthetic art form measured and graded in this way.. Neelaands appears to contradict his issues by stating The local curriculum can be based on a highly idiosyncratic and ideologically motivated selection. What is taught may be left to the whim of an individual teacher and may reflect personal prejudices and interests rather that the breadth of depth of study which is a pupils entitlement (Neelands, 2004, p.6). Yet according to Neelands on the Initial Teacher Education website (ITE, 2011d), The non-statutory Framework drama objectives might usefully form the basis of the programme of study for drama at KS3. However, these specific objectives are unlikely to be considered sufficient as core objectives for drama as a discrete subject because they do not cover physical, visual, design and technical aspects of drama. This suggests that although the concerns of Patrice Baldwin are relevant, the concerns of the ITE is that without a defined structure and specific objectives, the importance of Drama could be overlooked. This point of view is rejected by Way (1967, p.12) who points out, If we make drama another subject, then we make another progressive straight line in fact many straight lines, one for infants, one for juniors, and so on through the different age groups. Again, because of its uniqueness there is a concern over how Drama can be measured i.e. marked. Way (1967, p.3) wrote, Education is concerned with individuals; drama is concerned within the individuality of individuals, with the uniqueness of each human essence. Indeed this is one of the reasons for its intangibility and its immeasurability. As Drama is not in the National Curriculum as its own subject, it might be seen as unimportant. With the pressures on schools to be ranked via league tables on the core subjects of English, Maths and Science, it is perhaps not surprising that schools focus on these subjects to the detriment of all else. However, the subject still has its own written examinations and an external examiner is called in to mark performances. It is therefore unclear as to the reasons behind why the subject is deemed by some to be difficult to assess. CONCLUSION Ultimately, drama is a valuable tool, but first the tool itself must be fashioned. (Way, 1967, p.7). There appears to be a divide in international practice over whether Drama should be used across the curriculum or as a subject within its own right and/or as part of the arts agenda. There were those who thought that if assessment was going to be the name of the game, then drama could and should be made to fit, in order to ensure its place in the new curriculum.   And there were those who breathed a sigh of relief that drama did not fit and had been left outside the new curriculum, where at least it would allow a greater freedom of practice and content, within the broader curriculum (Baldwin, 2011). Therefore, unless the individual schools value Drama, and encourage Drama teacher training, the concern is that the level of teaching Drama will not be sufficient to add any value to teaching within the school as a whole. According to Ashcroft and Palacio (1995, p.203) there are two types of Drama within the National Curriculum spectrum, one being performance based activities, such as assemblies and school plays, and the other being educational Drama, which involves children in the active creation and exploration of situations based on fact or fiction. it is regarded by many teachers as a learning method rather than a subject area because it can be employed to deliver many aspects of the curriculum very effectively. (Ashcroft and Palacio, 1995, p.204). Art is useful, not because it is true but because it is truly edifying. It is because drama as art functions in this way that a dramatic work cannot be explained, paraphrased or deconstructed into essays. Like any other art form, drama is unique and non convertibleà ¢Ã¢â€š ¬Ã‚ ¦ it resists crassly utilitarian efforts to corral it into the service of geography, history or management training as much as it refuses to be the acquiescent servant of personal, social, or political education. In a secular age, the usefulness of drama lies in its ability to articulate meaning in particular direct and accessible ways so that we, in turn, can make better sense of the world in which we live. For these reasons, drama is an indispensible part of the arts curriculum. (Hornbrook, 1991, p.40-41). Whilst we cannot expect the commitment of the National Theatre at every Primary School (Turner et al., 2004) they offer a model of best practice that can be used within the subject of Drama to really bring out the confidence and intellect of young children and this should be the ultimate goal whether Drama is housed within English or is a subject in its own right. Does this then mean that drama is yet another subject that has to be fitted into an already overcrowded curriculum? No. Drama is not another subject; theatre might be, with its ground work in history and its study of playwrights and their works but not drama. Drama is as intangible as personality itself, and is concerned with developing people. Indeed, it is as necessary to discard educational conventions as to disregard theatre conventions (Way, 1967, p.7). The arguments will rage on but only the will of the government can make a difference to the position Drama as a subject or non-subject is in. The conclusion drawn from all the evidence in this report is that Drama should be included as a subject in its own right in the National Curriculum, but not as the curriculum currently stands. There appears to be insufficient structure and no definitive way that the success of pupils taking Drama can be measured. To try and fit it into the current curriculum could restrict its usefulness as a holistic well being tool for the personal growth of pupils. How could this be measured in academic terms? There could be pupils who come alive as actors and give wonderful performances, but cannot translate this successfully into a written piece of work. How does one measure personal growth? How can we mark a student who has grown in confidence, can express themselves better than before the introduction of the Drama lesson, and interacts well with other st udents in the class? Whereas before the use of Drama they may have been antagonistic, dealing with personal issues which had no voice except in eruptions of violent behaviour. One can set tests to measure the knowledge of the literacy greats, the search for meaning in the works of the playwrights but should this lie here or within the realms of English Literature, such that it cannot be used as a mark of success or failure for Drama students. The conclusion gathered is that this testing should be left within the English subject, thus allowing students of Drama more freedom to express themselves through this wonderful medium. It has been shown that Drama is a useful tool in the understanding of other subjects, but it should first be enjoyed and understood in its own right. The greatest problem for Drama being included in its own right in the National Curriculum appears to be the way the success of subjects are currently judged. There does not appear to be current procedures that can fairly measure the true success and positive impact Drama can have on a students life. For example with a Mathematics exam there is a definite right answer with marks available for showing your workings out, but what is the right answer in Drama? The division between the teaching professionals as to the inclusion or not of Drama in the National Curriculum can be understood after researching and investigating this question. The concerns are that the importance of Drama within the schools is currently dependant on the will of the head teacher and the ability, passion and commitment of the Drama staff. Drama teachers experiencing schools who class Drama as a fill-in subject and not that important will have experienced first hand the argument that Drama should be included. It could be very demoralising to the Drama teacher who feels that their work, however committed they are, maybe seen as unimportant. However those Drama teachers experiencing and enjoying a school that appreciates Drama and uses it throughout school life for example in assemblies, community gatherings and the annual school performance may enjoy the freedom of the subject not being included in the National Curriculum, as they do not feel threatened about the validity of their teaching skills. There appears to be no straightforward conclusion over Dramas inclusion in the National Curriculum, however it must be pointed out that other parts of the British Isles make Drama a subject in its own right and provide excellent support for it. Perhaps there are lessons to be learned from the way they have gone about this by an exchange of ideas on best practice. For example what criteria are they using to measure Dramas success as a subject; are more or less students choosing Drama as a subject at Secondary level; has its status had a positive or negative effect on the teachers? Without knowing the answers to these questions and many more besides we cannot hold these countries up as shining examples. There needs to be a way of trying to take the best from the arguments for and against Dramas inclusion in the National Curriculum. For example this research has shown that most of the Drama professionals feel that both the subject and they benefit from its inclusion to put them on a level playing field with other subjects. They believe that they may be taken more seriously and have more support from training being given. The concern of its inclusion appears to be that it could stifle the very creativity and freedom of expression some professionals believe Drama should be. They all appear to agree that Drama cannot be measured in academic terms as easily as other subjects as no marks are awarded for students personal development. Therefore after research and investigation into this question, the final conclusion is that Drama should be included in the National Curriculum as a discrete subject but only after the creation of relevant success criteria is added. Once there is an acceptable measurement formula in place Drama would then benefit from inclusion. As it stands at present there does not appear to be sufficient steps in place to recognise Drama students success.

The Hole in My Heart :: Personal Narratives Health Medical Essays

The Hole in My Heart When I was younger, I loved to play sports. Basketball was my favorite and I was always one of the best on the team. I could jump high to get rebounds, I could use my long arms to steal many balls, I had a great shot and I did it all with grace. It was a beautiful thing and probably the only time I ever felt completely included in a group of people. Even though I was a valuable asset to the teams I played on, I was never the best. I missed many practices because I was too tired to play. I missed some games because I was sick, and I could never run as long or hard as any one else. My parents, teachers and friends reduced me to a lazy hypochondriac and by the power of suggestion, I almost believed it. At the end of the eighth grade, I could not do it anymore. I needed to sleep all afternoon, and sharp pains stabbed my legs with every step I took. Furthermore, I had just realized that I was a lesbian and the stress was causing me to be excessively distracted. How could I have existed wi th something so powerful living in my body for so long and not know it until now? I guess society’s expectations had blinded me. Of course, hindsight is always 20/20; as I reexamined my life as of that far, I could see that it had always been with me. So with the fatigue, stress, pain and illness I called it quits just a few games before the end of the season. During the next few years, I slowly limped around school, and slept through many hours of the day. I had already finished growing, so it made no sense that I slept as much as I did. I already knew why I limped; I have an extra spine bone that puts pressure on my sciatic nerve causing the sharp pains in my lower body, but there was a new unexplained weakness in my hips. It was not until a trip to Las Vegas when I definitely knew there was something wrong. I was eating dinner with my mom and sister when the skin on my wrists turned puffy and I had a strange feeling in my body and my mouth like what it feels like to touch a cotton ball with wet hands.

Things Fall Apart (Coming of White Men)

Thing Fall Apart Chinua Achebe Discuss how the coming of the White men makes Umuofia â€Å"fall apart†. Make reference to the religious, economic, political and social impact of the British culture on the traditions of the clan. As the novel opens, we get to know Umuofia, one of Igbo’s nine villages, as an organized but somehow different civilization. Chinua Achebe portrays life in this village as rough and harsh, conveying to the readers that only brave men would succeed in it. As said before, even though these civilizations are stereotyped and seen as primitive, we can clearly see that their lives are completely balanced between faith and order.It is actually astonishing to see how such a different way of life, to what we think and see as the normal life, may be as much or even more organized than ours. Even though both civilization are completely organized and function perfectly well, they could never live together in harmony. One would end up consuming the other as they were not meant to coexist. We may think we are educating and helping â€Å"uncivilized men†, but we are actually disintegrating their beliefs, their organization, their politics and their language. We are not aiding them, but destroying their religion and their society.We are, in other words, banishing their culture. A culture that will be lost forever. Hence, we may say, that in many ways the coming of White men made Umuofia â€Å"fall apart†. To begin with, the coming of the white men made Umuofia fell apart as their religion was greatly affected. The village of Umuofia was sustained by their beliefs and their gods, who criticized and punished the lazy men and those who were not worthy of worshipping them. Therefore the coming of a new monotheist and more peaceful religion brought huge changes in some of Umuofia’s most important traditions.These white men questioned most of Umuofia’s beliefs such as the dangers that inhabited the evil forest by set ting their livings there. This first action brought great controversy in the clan as people thought that whoever stayed in the forest for a certain period of time would painfully die. The resistance these white men showed to that â€Å"evil force† led many people to get interested in the new religion. People suddenly began questioning their own beliefs and traditions, questioning why they should venerate gods who were bound to punish, and not one God who was merciful towards humanity.The village divided in to those who remained steadfast to their traditions, and those who began to adopt the new ones. Society completely turned over after these events. Those who turned into Christianity were seen as the elite of the society. The clan was getting weaker and weaker every day, as more and more people turned into Christianity. The time soon come that the clansmen had not enough forces to control the missionaries. They should have reacted before, but only the exiled Okonkwo was brav e enough to face the white men.Hence, we may conclude that the imposition of a new religion severely damaged the village by, splitting it in two, reducing their forces and their willing to fight, and proving most of their beliefs false. Summarizing this, it massively weakened the most powerful and feared clan of the nine villages. Economically, Umuofia was also affected by the arrival of white men. Hitherto, Umuofia had presented us a hierarchical society, were men who showed to be brave, hard workers and strong enough, occupied the highest places in society, while lazy and unmanly men were found at the bottom of the pyramid.Since, the missionaries arrived, things turned around, the lazy and humble men who decided to accept and worship the new god began to get richer and richer, while the hard worker farmers were left behind. Money began circulating in the tribe but only those who turned into Christianity had it. Hence, no one interested in trading, and so, farmers were getting poor er every day. We may say that Umuofia was not destroyed economically but it was greatly affected, some suffered a lot of it, but some others were benefited by these changes. The arrival of the white men also led to massive changes in the village’s politics.They subjected the villagers to their own judicial system and rules, imposing an extremely different and harsh government over them. As white men didn’t respect nor understand the clan’s customs, many men were punished for following their â€Å"uncivilized† traditions. In chapter twenty one Okonkwo discusses with Obierika about Aneto, who was recently hanged by the government after he killed a man with whom he had a dispute. Clearly the new ruling system didn’t take into account old customs. It is completely correct actually, to punish a murderer, or any kind of criminal, but by doing so we are destroying their customs and their traditions.When Enoch unmasked an Egwugwu, considered to be the high est possible crime in Umuofia, the church did nothing, as again, they didn’t respect their customs. Unmasking an Egwugwu in Umuofia is as much or even more harsh than killing a man is for the white men, it can only be compared with killing a god. Once again, the new government doesn’t punish this event. This is a great example of how, Umuofia was left weak and subjected to the white men ruling. We can see now, that they are not trying to make Umuofia a more civilized village, but a more British one.Hence we may conclude that by imposing a new government who ignores their customs, the coming of the white men are making Umuofia fall apart. Finally, culturally Umuofia also fell apart thanks to the arrival of the white man. The new comers introduced a school, which taught their own rules, their beliefs, and their culture. They educated younger villagers that way, so that they could later control them more easily. They were kind of brain washed to believe and trust whatever they do. Education is not bad, of course, but they were not educating them to be better and more intelligent villagers, they were educating them to be other persons.They changed their minds. Young boys were dragged out of farming into the school. In other words, they were dragged out of their lives, from whom they really are. Another cultural change imposed by the white men were hospitals, we can’t say that’s something bad, but that is not how Umuofia is. When we say that it â€Å"fell apart†, we are not actually saying that everything went wrong for them, that all changes were bad. Some, like the introduction of hospitals in the tribe, were actually a massive improvement.Indeed, some of the politics imposed do try to make Umuofia a â€Å"safer† place, where killing is punished, and leaving twins in the forest to die is seen as an abomination. That’s perfectly fine, they may be improving in some ways their lives, but the culture, the old tradition s, their beliefs, everything was lost. Everything Umuofia was, suddenly banished. Everything it represented, their gods, their traditions, and their culture were destroyed. Nobody left to defend their customs, nobody left to respect them. Only memories were left of Okonkwo, Umuofia and their old lives. Everything Umuofia was†¦ fell apart.

Research Proposal Management Essay

The population of Cameroon is one of diverse backgrounds,with over 260 tribes with each tribe having its own distinct dialect. of which its indigenous population constituting the Youthful and Middle age group. As the first settlers of the territory constituting present-day Cameroon, the Bantus should provide a strong cultural and economic base for the country. Yet throughout this land’s history, the Bantus have always been the segment of the population that has suffered the most. Their exploitation began when the Portuguese â€Å"discovered† Cameron in 1472,later in 1884 came the German annexation of Cameroon: and in 1919: Cameroon was divided between France and Britain: and finally in 1960: was the Independence of French Cameroon, con After Cameroon gained its independence form Britain and France in the 1960’s, the subordination of the indigenous population remained active throughout the years of restucturing and reform. Because the first Bantu-tribes immigrated to Cameroon from North (Nigeria),The English speaking have maintained the lowest level in the socioeconomic hierarchy of Cameroon since after independence. The abuse throughout these five centuries has been manifested through the exploitation of indigenous labor, degradation of Indian culture, lack of political voice, and exclusion from social work programs, leaving indigenous areas without the necessary social and economic infrastructure for their advancement. In Cameroon today, these characteristics plague the areas with a high concentration of indigenous population. The abuse of power and corrupt government practices on behalf of the past and present Cameroonian President coupled with the accepted belief that the Anglophones allowed for two disparate worlds to emerge from Cameroon. One is increasingly modern and industrialized, centered in urban areas in the Center region of Cameroon. It is this vision that leaders of Cameroon actively promote in order to convince the rest of the globe that Cameroon has achieved the status of a Developing or even second World Nation. The other world, hidden from view, is that of the indigenous and peasant population, that lives in abject poverty,misery and oppression. This group suffers from the same marginalization and exploitation that it has endured for the past 50 years. In today’s era of globalization, the situation facing the Anglophone as they are called in Cameroon remains bleak. As Cameroonians moves forward into regional trade agreements, the indigenous must overcome their history and current state of deprivation in hope of advancement. The Cameroonian government has begun to enter the world market through economic liberalization policies initiated in the past two decades. One of the largest was the International Monetary Fund (IMF) and the World Bank. The Cameroon government has began implementing the WTO Agreement on Customs Valuation in July 2001, And the Communaute Economique et Monetaire de l’ Afrique Centrale (CEMAC) which established a free trade region between Cameroon and most countries of the franc zone like Tchad,Central african republic, Congo. Gabon. And Equatorial Guinea. States. Reforms necessary for the implementation of the WTO Agreement have proved to be detrimental to the indigenous population in Cameroon and sectors that were poor prior to the WTO are falling farther behind. Yet the Cameroonian government continues to plow forward, negotiating larger regional trade agreements with its neighbors for the good of the already wealthy sector of the population, leaving the Anglophones open to further marginalization. A practical example of this marginalization is found in the south and northwest regions which are purely English spraking regions The Anglophones in Cameroon, whose social situation is one of the bleakest in all of West Africa. lack basic human rights, a political voice, schools, hospitals, electricity, and clean water. As Cameroon pushes further ahead with its economic reforms, the few programs that had been in place to aid the English speaking have been repealed, and the Anglophones continue to be ignored. Throughout history, these Anglophones have been repealed, and the Anglophones continue to be ignored. Throughout history, these Anglophones have endured poverty, exploitation, and oppression, while attempting to revolt and ignite change. Yet no movement has ever been successful. With the advent of WTO and further global integration, the Anglophones realized their situation would only continue to worsen if they did not begin to fight for change. To cut things short my thesis paper examined both the manifest and latent functions of Social work in the protection of the indigenous population within the Cameroonian society, specifically in the English speaking region. It examined the prospect for the Southern Cameroons National Council (S.C.N.C)Movement to meet with future success; analyzing the role that Social work will play in this movement’s effectiveness. Globalization, with its increasing connectedness and spread of technology could prove to be a beneficial tool in the process of gaining solidarity and support. Or globalization could allow for the gap between the rich and poor on both a national and international level to grow, leaving the poor segments in oblivion. This problem is not limited to Cameroon. As the world economy has become increasingly interdependent, the emergence of trans-national social movements may produce serious consequences for citizens in many nations. If these protest movements gain enough support, every person alive has the potential to be affected in some way. To accomplish this research, I have read and will continue to read many books, magazine, newspaper, and journal articles on the history of Cameroon, the treatment of the indigenous population, liberalization policies that have been implemented, and the S.C.N.C Movement.

Activities for ESL Lessons With Multiple Intelligences

Activities for ESL Lessons With Multiple Intelligences Multiple intelligences activities are useful for English teaching in a variety of situations. The most important aspect of using multiple intelligence activities in class is that you will be giving support to learners who may find more traditional activities difficult. The basic idea behind multiple intelligence activities is that people learn using different types of intelligences. For instance, spelling can be learned through typing which uses kinetic intelligences. Multiple intelligences were first introduced by in the theory of multiple intelligences was developed in 1983 by Dr. Howard Gardner, professor of education at Harvard University. Multiple Intelligence Activities for the English Learning Classroom This guide to multiple intelligence activities for the English learning classroom provides ideas on types of multiple intelligence activities you to consider when planning English lessons that will appeal to a wide range of learners. For more information on multiple intelligences in English teaching, this article on using BRAIN friendly English learning will be of help. Verbal / Linguistic Explanation and understanding through the use of words. This is the most common means of teaching. In the most traditional sense, the teacher teaches and the students learn. However, this can also be turned around and students can help each other understand concepts. While teaching to other types of intelligences is extremely important, this type of teaching focuses on using language and will continue to play the primary role in learning English. Teacher-centered explanationsEssays and written reportsReading selectionsBook based grammar and language function explanationsGap-fill exercises Visual / Spatial Explanation and comprehension through the use of pictures, graphs, maps, etc. This type of learning gives students visual clues to help them remember language. In my opinion, the use of visual, spatial and situational clues is probably the reason learning a language in an English speaking country (Canada, USA, England, etc.) is the most effective way to learn English. Mind mapsUsing photos, paintings, etc. to encourage discourseCreating personal roadmaps / other visual aids to use during discourseGraphs used to initiate explanations of statisticsVideosCreating multimedia projectsHighlighting texts in different colors to indicate tense, or functionGames such as Pictionary Body / Kinesthetic Ability to use the body to express ideas, accomplish tasks, create moods, etc. This type of learning combines physical actions with linguistic responses and are very helpful for tying language to actions. In other words, repeating Id like to pay by credit card. in a dialogue is much less effective than having a student act out a role-play in which he pulls out his wallet and says, Id like to pay by credit card. TypingMovement games (especially popular in childrens English classes)Role plays / dramaPantomime vocabulary activitiesFacial expression gamesFor classes with access to athletic facilities, explanation of sporting rules Interpersonal Ability to get along with others, work with others to accomplish tasks. Group learning is based on interpersonal skills. Not only do students learn while speaking to others in an authentic setting, they develop  English speaking skills  while reacting to others. Obviously, not all learners have excellent interpersonal skills. For this reason, group work needs to​ be  balanced with other activities. Small group workTeam competitionsRole plays using dialoguesPeer teaching Logical / Mathematical Use of  logic  and mathematical models to represent and work with ideas. Grammar analysis falls into this type of learning style. Many teachers feel that English teaching syllabi are too loaded towards grammar analysis which has little to do with communicative ability. Nonetheless, using a balanced approach, grammar analysis has its place in the classroom. Unfortunately, because of certain standardized teaching practices, this type of teaching sometimes tends to dominate the classroom. Grammar categorizing activitiesGrammar rules study and inductive explanationsError recognitionCorrecting work based on teacher indicationsDevelop mind-maps and other vocabulary charts Intrapersonal Learning through self-knowledge leading to understanding of motives, goals, strengths,  and weaknesses. This intelligence is essential for long-term English learning. Students who are aware of these types of issues will be able to deal with underlying issues that can improve or hamper English usage. Writing in logs and diariesEstimating learning strengths, weaknesses, progress over timeUnderstanding learner objectivesSpeaking about ones personal history with confidence Environmental Ability to recognize elements of and learn from the natural world around us. Similar to visual and spatial skills, Environmental intelligence will help students master English required to interact with their environment. Exploring outdoors but in EnglishShopping and other field tripsCollecting plants to learn appropriate vocabulary