circumstances in make lemonade Essay -- essays research papers

Circumstances   Ã‚  Ã‚  Ã‚  Ã‚  Circumstances; they rule our lives. One has if not no control, then VERY little control, over their actions when they are placed in harsh circumstances. It is very difficult to break through your surroundings, to beat everyone around you.   Ã‚  Ã‚  Ã‚  Ã‚  There is a quote â€Å"Circumstances rule men and not circumstances.† The idea of this quote, that one doesn’t have control over their turnout when they are placed in harsh circumstances, shows up in other places as well. There is another quote which is similar to this one. The quote is â€Å"Circumstances define us; they force us on one road or another then they punish us for it†. â€Å"Circumstances define us†¦Ã¢â‚¬  we are only who the people around us make us out to be. We take after our surroundings. It is hard to stay away from bad things, if all that surrounding us is bad. It is difficult to resist peer pressure. In the novel Make Lemonade, by Virginia Ewer Wolf, LaVaughn wants out. She wants to get away from all of the violence, all the drugs. She wants to get out of where she lives, which is very similar to the projects, some neighborhoods near her ARE the projects, and to go to college. She wants to escape from all of the peer pressure. She understands that she is not capable of becoming the type of woman she wants to be if she never experiencing life outside of her circumstances, life outside of drugs, violence and other things of the sort. Her surroundings, the circumstance...

Mats Ek Essay

Introduction In this essay I will present one of the greatest choreographers of the 20th century, Mats Ek. I will describe his specific stylistic characteristics, themes and dance vocabulary bringing as examples some of his most important re-adapted works such as Giselle, Swan Lake and Sleeping Beauty. Life and career Mats Ek was born in Malmo, Sweden on the 18 of April 1945. He came from a very culturally active background: he was the son of a famous Swedish actor Anders Ek and the internationally recognized choreographer Birgit Cullberg, founder and director of the Cullberg Ballet, his sister Malin was an actress and his brother Niklas a dancer. Mats Ek started his dance studies (Martha Graham technique) with Doya Feur in 1962 alongside with drama studies. In 1965 he became a full time drama student at the Marie College but few years later he returned to dance training at the Stockholm Ballet Academy. His first theatrical working experience began as the producer and then director of the Puppet Theatre in Stockholm. During the season 1980-1981, he was associated with the Nederland Dans Theater as dancer as well as choreographer. Few years later he joined the Cullberg Ballet as a dancer and in 1985 he became the artistic director of it, he directed the company for eight years. He left it in 1993 b eing replaced from Lidstrom and Wennergren Juras. Re-making of the ballet classics â€Å"Over ten years ago I saw it(Giselle) for the first time- with Makarova. She was really gripped me. Already then, I thought the traditional story of Giselle contains many hidden possibilities which are not recognized. There are various trails leading inside, but they are not utilized. They lie fallow or else are powered over† (Ek, Mats interviewed by Tegeder, Ulrich. Create characters, special people. Ballet International,5,1983:19) Mats Ek is a very innovative choreographer of his time, the post modern era. Postmodernism is a movement that rebels against traditional ideas. Mats Ek is an active man of his time fully absorbed by the rebellion that was happening those years. This new ideas incite him to rebel against the traditional ballet classics radically modifying them and giving his own interpretation of them. All of his works are still narrative works but the  storyline of all the ballets is updated. â€Å"The investigation of narrative alleys,epic paths and metaphorical tunnels is what provides the primary stimulus for re-telling those stories by creating new dances† (Giannandrea Poesio, Dancing Times, October 2003 page 23) His alternative storylines are pure reality not fairytales, he is not interested in abstract concepts, he change the conventional viewpoint putting on stage actual themes. He gives the audience a taste of contemporary reality. â€Å"A fairytale is a sweet little cottage, but on the door you can read: Explosive!† Mats Ek The most famous ballets he reinterpreted are traditional ballets such as Giselle (1982), Swan Lake (1987) and Sleeping Beauty (1996). Giselle Mats Ek’s Giselle is something completely different from Perrot’s original version. The character of the young Giselle is completely flipped over; she is not the sixteen years old innocent girl but a passionate and sexual active woman. In Giselle in fact, Ek introduces and shows sexuality and love seen such a sexual one and not a romantic one anymore. (https://secure.staatsoper.de/) Swan Lake â€Å"A lonely, somewhat weaker than the-average-Prince-Siegfried, who questions his sexuality (think Oedipus complex) and his mother’s open issues in attempting to marry him to someone just like herself. The Prince encounters  androgynous creatures, swans that waddle through the ground rather than the graceful water creatures that we know from Petipa/Ivanov.† (http://www.theballetbag.com/2012/07/13/mats-ek-biography/) (http://www.criticaldance.com/reviews/2002/cullberg_swanlake-021023.html) Sleeping Beauty â€Å"The teenager Princess Aurora falls in love with â€Å"the wrong guy† and ends up in a drug-induced coma. Carabosse appears as a drug dealer and tempts Aurora into pricking her finger with the â€Å"needle†. At Aurora’s birth the fairies are maternity nurses and later they are pop culture characters out of a TV show, while the Prince is a spectator.† (http://www.theballetbag.com/2012/07/13/mats-ek-biography/) â€Å"Ek has made an astounding break from the Sleeping Beauty we know and love, leaving not a single stone of Petipa’s edifice standing, renouncing all the choreographic gems cut by the imperial jeweller of the Tsarist ballet† (Vollmer, Horst. Irreverently Classical: Mats Ek stages Sleeping Beautywith the Hamburg Ballet. Ballet International,7,1996:19) Tà ¶rnrosa – Gà ¶teborgsOperans Balett (http://www.danzaballet.com/?p=3497) There are also some works that seem not to follow a precise storyline like Smoke (1995) or Appartement (1999) but they can’t be described as abstract works because oh their strong content. Stylistic elements of his choreography Mats Ek choreography has two main characteristic elements: clarity and irony. All of his choreographies have a direct and immediate message, really easy to understand by the audience. With the new version of the traditional  ballets in fact Ek wants to go straight to the point in the shortest time possible opposing his works to the articulate and often ambiguous traditional ballets. â€Å"Clarity is the choreographer’s key word, as opposed to what he calls the ambiguity of the conventions and the clichà © of classical ballet, â€Å"clarity†, however, should not be mistaken of simplicity. In both Giselle and Swan Lake there lies beneath an accessible, straightforward dramatic construction an intricate amalgam os social, political, cultural and literary references† (Fifty Contemporary choreographers) Another important element of Ek’s choreography, as the quote above suggests, is the dramatic construction of his works. Ek does not just present dramatic situations to the audience but he creates all around an atmosphere of irony. â€Å"Irony is a characteristic element of Ek’s choreography, in which strong images and dramatic situations often contrast with brief, humorous episodes† (Fifty Contemporary choreographers second edition) â€Å"Even amidst the darkest and most poignant moments of a not-so-happy-ending situation, he manages to insert fire-cracking comic sections or references that enhance greatly the dramatic build up by creating a unique game of contrasts and choreographic chiaroscuro† (Giannandrea Poesio, Dancing Times, October 2003 page 25) Clear examples can be found in Giselle and Swan Lake: The two male peasants’ comic duet in front of Albrecht’ fiancà ©e just before the arrival of the aristocratic and the end of the act in Giselle. The three jesters’ dances just before the end of the lack scene in Swan Lake. These comic episodes are introduced with great ability every time a dramatic situation reaches its climax. Themes â€Å"Political, social, racial and sexual concerns informed Ek’s first three creations, Kalfaktorn (1976), St George and the Dragon (1976) and Soweto (1977); psychological themes and gender issues played a part in both House of Bernarda Alba (1978) and Antigone (1979) long before Giselle and Swan Lake† (Fifty Contemporary choreographers second edition) The main interest of the choreographer is to explore the human psychology  and the human relationships. â€Å"In reworking ballet classics, Ek’s creed is to render the characters alive, providing a clear description of their inner emotions and contrasts. The psychological characterization of the role is thus enlarged; the characters’ relationships and their emotional response to the development of the action are considered in greater depth † (Fifty Contemporary choreographers second edition) There are various examples of different human relationships in Ek’s works: Man/Woman in Smoke. â€Å"In â€Å"Smoke† Mats Ek shows the relationship between a man and a woman (Niklas Ek and Sylvie Guillem). Each of them has his/her own life as expressed in their respective solos. They meet and mingle tenderly and violently in two pas de deux. The smoke which comes from their clothes and mouths expresses their communication.† (http://nycdancestuff.wordpress.com/2012/04/09/smoke-by-mats-ek-imz-dance-screen-award-1996-with-niklas-sylvie-guillem/) Family relationships (parent/ child) in Swan Lake as Prince Siegfried are given an oedipal complex or in Sleeping Beauty when Aurora turns against her  parents. Close to this is the very theme of â€Å"motherhood† that is explored many times as well as the one about gender issues in his works. In Giselle, for example, the only activity conducted by the women is giving birth as the eggs brought on stage by the peasant woman seem to suggest. Gender issues are overall explored in The house of Bernarda Alba (1980) since the main character is performed by a man and in Carmen where the main character seems to be much more masculine than her man. Ek is, once again, fighting against traditions; he rebels against the traditional way of characterizing by stylized movements man and woman on stage. Ballet pieces tend to prefer some movements to be performed by female dancers and different ones by males. Ek instead tries â€Å"to cross the boundaries of given gender-specific movements, finding that really interesting† (Ek,Mats in Jensen,Gunilla, Intervista a Mats Ek, Reggio Emilia Danza: Edizioni del teatro municipale Valli,2002, p.38) â€Å"The movement language usefully opens up gender binaries leading to much more contemporary representations of man and woman. He exposes complexities of gender by inverting the far more conventional, steryotiped and idealised figures of traditional ballet† (Midgelow Vida, Reworking texts- inverting bodies, Mats Ek radically reconceived the classics, Ballet Theatre Journal) Rich and poor in Giselle. In this work Ek introduces the social theme of class differentiation. Giselle, completely in love with prince Albrecht who is clearly from a different social class, attempts to transgress the social rules. Finally she will be punished and rejected from her and Albrecht’s social class. White and black in Soweto (1977). The mechanical doll’s endless movements represent the white people’ prejudices against the blacks. They are repetitive movements and they symbolized the unchangeable ideas of the whites about the black people. Society and outsider in the second act of Giselle. Giselle is banished from  her social class and trapped into the mental hospital. This is a clear example of the society oppression. Giselle is banished because mentally disable and considered unable to find her place into the society again. (https://secure.staatsoper.de/922 -spielplan~ballett~veranstaltungen~vorstellung.html) Movement Vocabulary Mats Ek choreography is a totally new and innovative choreography. It is based on contemporary techniques. Ek gives much more importance to the body weight so his steps look more grounded and heavy. The dancers make a very good use of the floor. His movement language is really particular, there is a fluid use of the torso in contrast with the lower part of the body that is usually bend (bend knees). Very interesting is the constant research of opposition between inwards and outwards movements. The dancer seems first to perform a movement that reaches out from his body’s centre that ends being suddenly pulled back. Ek’s movement language reflect his themes and narrative intention, it goes against the original movements of the classical ballet. â€Å"Ek’s choreography inverts the traditional language of the ballet, he eschews ballet codes. He leaves behind the conventions of gendered vocabularies and the structured hierarchy of the pas de deux in favour of more diverse representations† (Midgelow Vida, Reworking texts- inverting bodies, Mats Ek radically reconceived the classics, Ballet Theatre Journal) A clear example is given by the swans in Swan Lake. In the traditional ballet in fact swans are seen as beautiful and ethereal animals perfectly synchronized with each other in every movement. Ek’s swans instead are â€Å"a set of independent earthly creatures that cross the stage with weighty gallops and stamping feet† (Midgelow, Vida). (http://www.cullbergbaletten.se/en/history) References Mats Ek’s experience in different art form really helped to develop his choreography. Mats Ek is not just a dancer but also an actor and puppeteer. In some of the choreographer’s works there are some clear references to literature. Ek seems to be strongly linked to the famous dramatis William Shakespeare. For example the relationship between Prince Siegfried and his mother can remind us the one between Hamlet and Gertrude. Influences and muses His mother, Birgit Cullberg, was the most important Ek’s influence. He dedicated a whole work to her: Old Children (1989). He learned a lot from her while he was sharing with her the artistic leadership of the Cullberg Ballet. There are lot of common themes between the two of them but different stylistic characteristics. Birgit’s style in fact was much more closer to balletic style. â€Å"The attention to psychological characterization, the sensitive portrayal of human feelings, the juxtaposition of strong images and humorous episodes can be seen as typical attributes of both Cullberg’s and Ek’s creations† (Poesio,Giannandrea. Fifty Contemporary Choreographers) (https://birgit+cullberg&oq=birgit+cullberg&gs) Ana Laguna, Ek’s wife, is the inspiring muse of the choreographer. She originated Giselle character, the Swan Queen in Swan Lake and the protagonist in Carmen. â€Å"The character of Giselle would have never been born without Ana Laguna† (Giannandrea Poesio) Ana Laguna, Mikhail Baryshnikov and Mats Ek (http://dansportalen.se/111/-fler-artiklar/nyhetsarkiv/1-23-2010-lena-andren-) Another great dancer who inspired him was Sylvie Guilleme. Ek created for her three works: Smoke, Wet Woman and Bye. Conclusion I enjoyed so much writing this essay. I think Mats Ek is an absolute genius, his choreographies are brilliant original and innovative. I love his reinterpretations of the three ballet classics, and his choreographic style. The movement vocabulary is unconventional and provocative. He is a choreographer simple and in its clarity and spontaneity we recognized his greatness. The messages arrive immediately to the audience, we do not need any explications or help to understand what the choreographer wants to say we just need to seat and enjoy the performance. Bibliography Book: Martha Bremser, Lorna Sanders. Fifty Contemporary Choreographers, Routledge Taylor. London and New York 2011. Accessed on 8th of April 2013 Articles: Pesio, Giannandrea. Mats Ek. The Dancing Times, October 2003. p 22. Accessed on the 12th of April 2013 Midgelow, Vida, Reworking texts-inverting bodies, Dancer Theatre Journal 15(2) 1999. p 4-7. Accessed on the 12th of April 2013 Jensen Gunilla, Mats Ek and the Cullberg Ballet, the Dancing Times. August 1997,p 993. Accessed on the 13th of April 2013

Further Reflections on the Public Sphere Essay

The text is about relationship of state and civil society, the origins of and prospects for democracy and the impact of the media. A kind of rethinking of Habermas’ first major work, The Structural Transformation of the Public Sphere published in 1962 and translated into English in 1989 which describes the development of a bourgeois public sphere in the eighteenth and early nineteenth centuries as well as its subsequent decline. Habermas admits, his theory has changed since then and he reminds readers of these changes. 1.The Genesis and Concept of the Bourgeois Public Sphere The public sphere (Ãâ€"ffentlichkeit ) is an area in social life (standing in-between private individuals and government authorities) where individuals can meet to freely discuss public matters, exchanged views and knowledge and through that discussion influence political action. A vibrant public sphere serves as a positive counterweight to government authorities (are out of the state control) and happens physically in face-to-face meetings in coffee houses and public squares as well as in books, theatre etc. The public sphere emerged first in Britain and in the 18th century in Continental Europe. The newspapers, reading rooms, freemasonry lodges and coffeehouses marked the gradual emergence of the public sphere. Habermas mentions Geoff Eley’s objection to his earlier depiction of bourgeois public sphere is an idealized conception. Habermas admits now the coexistence of several competing public spheres and groups, that were excluded form the dominant public sphere – the so called „plebianâ€Å" public sphere (like Jacobins, Chartist movement). Habermas influenced here by Guenter Lottes and greatly by Mikhail Bakhtin, who opened his eyes to the culture of common people as a violent counter project to the dominant public sphere. Habermas now views quite differently the exclusion of women as well. Habermas asks himself – were women excluded from the dominant public sphere in the same fashion as the common people? He answers himself with „noâ€Å" – the exclusion of women had structuring significance, as it was happening not only in the public sphere, but also in the private sphere. At the end of this chapter Habermas summons up: his bourgeois public sphere was formerly conceived too rigidly. In fact, from the very beginning a dominant bourgeois public collided with a plebeian (and female) one. As a result, the contrast between the early public sphere and the today’s decayed public sphere is no longer so deep. 2.The Structural Transformations of the Public Sphere: Three Revisions This chapter traces the transition from the liberal bourgeois public sphere to the modern mass society of the social welfare state. Starting in the 1830s, a transformation of state and economy took shape. Clear borderlines between public and private and between state and society became blurred, as a result of interventionist state policies. The increasing re-integration and entwining (mà ­senà ­ se) of state and society resulted in the modern social welfare state. In the subchapter 1 Habermas deals with the impact of these developments on the private sphere. Civil society was formerly totally private, there was no difference between social and family life. This changes with the emancipation of lower strata (workers), a polarization of social and intimate sphere arrives. Habermas describes a dispute among two schools in the 1950s, that of conservative Carl Schmitt school (and Ernst Fortshoff) and Marxist Wolfgang Abendroth, that influenced his considerations at that time, though today he distances himself from his approach. In the subchapter 2 Habermas is concerned with changes in the structure of the public sphere and in the composition and behavior of the public. The infrastructure of the public sphere has changed due to changes in media, advertising and literature that has become oriented to new social groups (workers) as well as due to the collapse of the liberal associational life. Since the 1960s, when Habermas book was published, the opportunities for access to public communication became even more difficult. The public sphere is today dominated by the mass media., which turned the critical public into a passive consumer public and caused a decay of the public sphere. Nevertheless, Habermas says his old concept of a unilinear development from a „culture-debating to a culture-consuming publicâ€Å" was too simplistic and pessimistic. Habermas explains this by general situation of media effects studies at that time – he relied on Lazarsfeld’s behavioristic research and had no information brought later by Stuart Hall (audience does not simply passively accept a text). Subchapter 3 deals with the legitimation process of mass democracy and two diverging concepts of public opinion – an informal, nonpublic opinion and a formal quasi public opinion (made by mass media), that often collide. 3.A Modified Theoretical Framework The mass democracies constituted as social-welfare states can continue the principles of the liberal constitutional state only as long as they try to live up to the mandate of a public sphere that fulfills political functions. It is necessary to demonstrate how it may be possible for the public to set in motion a critical process of public communication. Habermas asks himself, weather there can emerge a general interest of the kind to which a public opinion can refer to as a criterion. Habermas could not resolve this problem before. Today he is able to reformulate the question and give an answer. The ideals of bourgeois humanism function today as a utopian vision, which makes it tempting to idealize the bourgeois public sphere too much. Therefore Habermas suggests the foundations of the critical theory of society be laid at a deeper level and beyond the threshold of modern societies. In the 1960s Habermas believed that society and its self-organization was a totality (celek) controlling all spheres of its life. This notion has become implausible today – e.g. economic system of a society is regulated independently through markets. Later emerged his dual concept of society – the internal subjective viewpoint of the â€Å"lifeworld† and the external viewpoint of the â€Å"system†. The aim today as he sees it is to erect a dam against an encroachment (naruÃ… ¡ovà ¡nà ­) of system on the lifeworld, to reach a balance between the social-integrative power of solidarity (lifeworld) and money + administrative power (system). Communicative action serves to transmit and renew cultural knowledge, in a process of achieving mutual understandings. It then coordinates action towards social integration and solidarity. This can be met in traditional societies. Less often in posttraditional societies with their confused pluralism of various competing forms of life. Habermas criticizes Rousseau for his utopian concept of the general will of citizens in a democracy as a „consensus of hearts rather than of argumentsâ€Å". Habermas sees the solution in the process of public communication itself. Therefore democracy is rooted in public reasoning among equal citizens. State institutions are legitimate only when they establish a framework for free public deliberation (debata). Such a rational debate is the most suitable procedure for resolving moral-practical questions as well. The question remains how such a debate can be institutionalized so that it bridges the gap between self-interest and orientation to the common good (between the roles of client (private) and citizen (public)). Such a debate must meet two preconditions: presumption of impartiality and ability to transcend initial preferences. These conditions must be guaranteed by legal procedures (institutionalized) and they themselves shall be subject to the law. New institutions should be considered, that would counteract the trend toward the transmutation of citizens into clients (i.e. toward alienation of citizens from the political process). Democracy shall be not restricted only to state institutional arrangements. They shall interplay with autonomous networks and groups with a spontaneous flow of communication, that are the one remaining embodiment of the altogether dispersed sovereignty of the people. Democratic public life cannot develop where matters of public importance are not discussed by citizens. However, discourses do not govern – the responsibility for practically consequential decisions must be based in an institution. 4.Civil Society or Political Public Sphere Political public sphere is characterized by two processes: 1) the communicative generation of legitimate power 2) manipulative power of mass media. A public sphere need more than just state institutions – it requires a populace accustomed to freedom and the supportive spirit of differentially organized lifeworlds with their critical reflection and spontaneous communication – voluntary unions outside the realm of the state and the economy (church, independent media, leisure clubs etc.) They are not part of the system, but they have a political impact, as was seen in totalitarian regimes, e.g. in the communist states of Eastern and Central Europe. In Western-type democracies these associations are established within the institutional framework of the state. Habermas asks himself the question, to what extent such a public sphere dominated by mass media can bring about any changes. This can be answered only by means of empirical research. He concludes with reference to a study No Sense of Place by J.Meyrowitz, who claims that electronic media dissolve social structures and boundaries (like in primitive societies). Habermas disagrees – new roles and constraints arise in the process of using electronic communication.

Early Childhood Essay

Every child is unique in terms of life experiences, developmental readiness, and cultural heritage. A high quality early childhood program should provides a safe and nurturing environment, which promotes physical, social, emotional, language and cognitive development will ensure a positive continuation of the child’s education process. Kindergarten for children is very important. Most parents and children are excited about this stage in life for their child, as well as children might be a scared or nervous. Kindergartens are still mastering new physical skills. They are more able to move their body the way they wants to and, most likely, can run like the wind. Throughout the year kindergarten children will show a number of new physical skills, some are more important than others to help make her kindergarten year a highly successful learning experience. Kindergarten is the year to get used to the routine of school, and the idea of being accountable to a new authority figure and to make new friends, but it’s a crucial year to build the foundation for learning. Kindergarten learns differently, some may learn hands on, or visual. Kindergarten are at the most important stage in life so it is up to the educators to make a difference that can help them in the long so they are able to reach the next grade level as well as overcome any milestones that they may reach throughout their education. First, the classroom is loving, kind, caring, sharing, and motherly to all the children just like my own. The way I envision my classroom is that as you walk in the door you see art and picture of children playing and eating and doing different thing that supports the area such as dramatic play would be children in doctor jackets or something in that nature. The classroom has warm colors around it for each season. Each area of the classroom would be label with such as blocks would be block area, art, dramatic play, water area, science, literacy, etc. The children cubbies are label with their name and picture so they are able to recognize themselves. The library has age appropriate books for the children. The classroom should off the children art and learning. If there is a theme in the classroom the room will represent that specific theme. Each child is at a table that is color coded that will identify each table as a group, each table seats about 3-4 students depending on the class size. Each child has a portfolio so children are able to see their progress throughout the year. The classroom is based on play and material and the children have a teacher child relationship. While planning the curriculum I will provide free play that will allow children their individually time to choose an area of involvement (Eliason, Jenkins 2012). An effective curriculum children should be active and engaged, the goals are clear and shared by all, evidence based, the valued content is learned through investigation, play, and focused, intentional teaching (Eliason, Jenkins 2012). The curriculum builds on prior learning and experiences and is comprehensive and most important benefit the needs of the children (Eliason, Jenkins 2012). Curriculum should be planned around the developmental needs of the children in my classroom (Eliason, Jenkins 2012). Curriculum will builds upon what children already know and are able to do to enable them to connect new concepts and skills. The National Association for the Education of Young Children (NAEYC) urges that as a teacher my curriculum is thoughtfully planned, challenging, engaging, developmentally appropriate, culturally and linguistically responsive, comprehensive and likely to promote positive outcome for all children (Eliason, Jenkins 2012). While planning the curriculum I will provide free play that will allow children their individually time to choose an area of involvement (Eliason, Jenkins 2012). The experiences should be developed to help the young children in the classroom to help improve their skills in problem solving, thinking, reasoning, and creating (Eliason, Jenkins 2012). The National Association for the Education of Young Children states that high quality, developmentally appropriate programs should be available for all children. A separate statement of the NAEYC divides the concept of appropriateness into two aspects: age appropriateness and individual appropriateness. Philosophies that reflect how I envision my classroom and curriculum are Friedrich Froebel. Friedrich Froebel was a German educator of the nineteenth century who developed an Idealist philosophy of early childhood education. He established kindergarten and education for four and five-year-old children. Kindergarten is now a part of education worldwide. Friedrich Froebel was born in the small town of Oberwiessbach, Germany in 1782. His mother died when he was a baby (Froebel, 2011). His father remarried, but Froebel never liked his stepmother. His feeling of rejection and isolation remained with him for life. This had a strong effect on his theory of early childhood education. He believed the kindergarten teacher should be loving, kind and motherly (Froebel, 2011). Froebel studied at the University of Jena for a short time. In 1805, while studying architecture in Frankfurt, he was persuaded to become a teacher by the model school at Frankfurt. Friedrich Froebel changed the way we think about early childhood education. He designed balls, wooden blocks, tiles, sticks and rings to demonstrate that children learn by playing. Known around the world as the Froebel Gifts , these objects were an important part of his Kindergarten (Froebel, 2011). Froebel also included in his kindergarten philosophy the study and nuture of plants in a garden for stimulating children’s interest in nature. He felt it was important for children to grow up in harmony with nature. The Froebel Gifts have been widely imitated and adapted by educators and toys makers. Because of Froebel my classroom will have the right material to that I am able to teach my children with the right material so they can play and learn at the same time. He felt that the teacher should be loving caring and motherly and I feel that I am that way in the classroom as well. â€Å"Treat peoples how you want to be treated† and that’s how I feel as a teacher. Treat other children how I would want my children to be treated. Having that motherly character can also make it easier for a child to be more comfortable in the classroom especially if it the first time being away from the parents. Being that Froebel knew what it was like losing his mother and not liking his stepmother he knew what it was like to feel neglect and isolated so he incorporated that in with teaching and realized that no child should ever feel that way. Froebel’s kindergarten used free play, games, songs, stories, and crafts to stimulate imagination while developing physical and motor skill. In most classrooms free play is welcomed as well as games, stories, songs, and craft that will encourage children motor skills as well as solving problems. The kindergarten program was designed to meet children’s needs for physical activity, sensory awareness, creative expression, exploration of ideas and concepts, the pleasure of singing, and the experience of living among others. His educational approach was for â€Å"self-activity,† the idea that allowed the child to be led by his own interests and to freely explore them. Children are more independent and they want to explore new things on their own. Children become aware of numbers early in life, because of daily experience involve various use of numbers. Math is more than learning about numbers and how to add, subtract multiply and divide (Eliason, Jenkins 2012). The National Council for Teachers of Mathematics suggests 10 curriculum standards. The standards provide a guide in mathematics curriculum planning ; content standard are numbers and operation, algebra, geometry, measurements, and data analysis and probability. The process standards are problem solving reasoning and proof, communication, connection and representation (Eliason, Jenkins 2012). The standard gives an overview of math content and process for prekindergarten through the second grade(Eliason, Jenkins 2012). While teaching math to the children I will also incorporate promotes such as blocks, legos, cheerios, etc so that the children are able to see what they are doing visually . At the end of the year children will be able to understands one-to-one correspondence, sorts and classifies objects according to common characteristics, recognize and create patterns. (e.g. red, blue, red, blue or boy, girl, boy, girl), understand simple bar graphs and interpret how they help us gather information, count to 100, identify and print numbers 1-20, identify and draw basic shapes such as rectangle, square, circle and triangle. Reading is a communicative art that involves recognizing and understanding words(Eliason, Jenkins 2012). Children cannot read with understanding and comprehension something they don’t have the background knowledge about. Learning to read takes time, patience, desire, and readiness (Eliason, Jenkins 2012). Kindergarten is a year of discovery in reading and literacy. Child will learn to recognize simple words in print, including his own name and those of his classmates. Letter-sound correspondence, phonemic awareness, sight words recognition, rhyming and words families and concepts about print are the areas in which your child will expand his knowledge this year. By the end of the year some kindergartners will even be reading a little bit. Kindergarten science explores topics that are meaningful to students and can be applied to everyday life. Children will learn about good health habits, including nutrition and an introduction to dental hygiene. Children will spend time learning the process of inquiry as we learn about the five senses. Children will be able to collect information , observation, and data record information while exploring science projects. We will observe outside, take field trips, walks, and be able to talk about what we see. We will explore cause and effect. Science will be integrated into everyday activities including cooking projects Fine Arts are any art form. For example, painting, sculpture, architecture, drawing, or engraving that is considered to have purely aesthetic value (Encarta, 2004). The arts can open the minds of students in ways mere reading and writing will never be able to accomplish. Teaching through arts helps students experience concepts rather than simply discussing or reading it or have it read to them. This approach is consistent with educational theories that highlight the importance of reaching multiple learning styles or intelligences (Jacobs, 1999, p. 2). By working through the arts, instead of about the arts, the students’ educational experience will be achieved in a different way than just teaching the standard style of learning. Education of art helps students develop creativity, self-expression, analytical skills, discipline, cross-cultural understandings, and a heightened appreciation for the arts† and that â€Å"students who develop artistic expression and creative problem solving skills are more like to succeed in school. An activity that I would teach would be fine art such would be painting. Friedrich Froebel, the father of kindergarten, believed that young children should be involved in both making their own art and enjoying the art of others. Children will have a sheet of paper and would be able to pick two different colors out of four. I would allow them to chose if they want to finger paint, or use a paint brush. Once children have made their decision they would be able to self express.. Washington state standard for Art is through dance, music, theatre, and visual arts provide detailed recommendations and guidance for K–12 arts education. These documents include: Washington State K–12 Arts Learning Standards (one document encompassing all four arts disciplines—dance, music, theatre, and visual arts). Another activity would be science. We would see how long it takes an ice cube to melt. The Washington State K-12 Science Standards is a detailed document describing what all students are expected to know and be able to do at each level of our educational system in the area of science. The purpose of these standards is to provide strong support for students, parents, teachers, and the broader community by guiding the alignment of the school curriculum, instruction, and assessment at local and state levels. To accomplish this purpose it is essential to use this document in the following ways: Those responsible for curriculum alignment should refer to this document in selecting or developing instructional materials that enable students to acquire core conceptual knowledge and abilities in science. Those responsible for assessment alignment at the local and state levels should refer to this document in selecting and/or developing assessment tools and rubrics that measure student achievement of the core content in these standards. Those responsible for instructional alignment should refer to this document in designing classroom instruction and professional development of teachers to ensure that achieving these core content standards is a priority. It is also important to point out what the standards. In conclusion early childhood program should provides a safe and nurturing environment, which promotes physical, social, emotional, language and cognitive development will ensure a positive continuation of the child’s education process. References. â€Å"Friedrich Froebel (1782-1852) – Biography, Froebel’s Kindergarten Philosophy, The Kindergarten Curriculum, Diffusion of the Kindergarten. † Education Encyclopedia. StateUniversity. com. < http://education. stateuniversity. com/pages/1999/Froebel-Friedrich-1782-1852. html > 21 Dec. 2010. Froebel. (2011, April 04). † Education Encyclopedia. StateUniversity. com. < http://education. stateuniversity. com/pages/1999/Froebel-Friedrich-1782-1852. html > 21 Dec. 2010. Eliason, C. F. , Jenkins, L. (2012). A practical guide to early childhood curriculum (9th ed. ). New Jersey: Pearson Education, Inc. Cluff, D. (2005, October 6). The Importance of Fine Arts in the Classroom. Retrieved October 1, 2012, from http://ezinearticles. com/? The-Importance-of-Fine-Arts-in-the-Classroom&id=80061.

The experiments involving women in Nathaniel Hawthorne's The Birth Essay

The experiments involving women in Nathaniel Hawthorne's The Birth Mark and Rapaccini's Daughter using as foil The Oval Por - Essay Example Hawthorne build a formidable relationship with women characters, in which case he had to inspire many who appear in his fiction, and he had a relationship with women who had some influence in his life, which includes Margaret Fuller among others. Therefore, Hawthorne plays a crucial role in having to think about women and their confronting of the American men and society. Therefore, this paper will embark on the experiments that involve women in Nathaniels Hawthorne, â€Å"the birth mark† and the â€Å"Rapaccini’s daughter† (Wright). A substance analysis of Hawthorne’s women from the many tales demonstrates the way the Hawthorne uses the women as the objects of warning about the consequences of the fear of men. Analyzing the â€Å"The Birth Mark†, Hawthorne tries to introduce the Georgina character, in which case her sole flaw is the birthmark that was on her face. Everything else is perfect, but the flaw that existed was this only birthmark. The hu sband of Aylmer likes science, and he goes on to suggest that he should try to remove the birthmark. When he was through with the experiment, he goes ahead to announce that the experiment was successful. Having done this, Georgina, in which case she had some characteristics of evil possession, dies because her husband had the insistence on trying to deform nature. Aylmer also has the evil flaw, in which case he is persistence to get rid of the birthmark (Wright). Hawthorne has had to create characters with malevolent or the evil characteristics to the reader an allegorical meaning. To some extent, he may be targeting the women without the justification. Plainly, Hawthorne has had to target the women and the men equally in his works. For instance, in his works of, â€Å"Rappaccini’s daughter†, Hawthorne uses Beatrice to be the carrier of deadly poison, in which case men is in use in transmitting the evil. Then men in use have their own flaws, in which case it contribute s to the mistakes of women in their works. II. A There is the possibility of interpreting the Georgiana’s sexuality when interpreting the birthmark because Hawthorne works seem to have sexual undercurrent. In the hallmark, Georgiana tries to consider Aylmer to be his master, which is why she is caring about Aylmer’s opinion of her. Aylmer considers the imperfection in the Georgiana’s face and has the confidence of the nature due to his likes of science he plans to remove the imperfection from her face. He persuades her to remove the imperfection in order that they feel happy together. Aylmer then guides Georgiana into the laboratory, in which case it includes beautiful rooms and Aylmer finally succeeds in removing the imperfections. However, Georgiana, in which case she has had to dream, dies. From the two characters, Georgiana and Aylmer, it is quite clear that the birthmark epitomizes natural beauty containing imperfection and explores the hubris of science an d art in an attempt to perfect what the nature offers. In addition, there is the revelation of discomfort and fascination with the power of women’s sexuality, in which case it can make a man pursue anything, including endangering a woman’s life, diminishing it (Wright). Aylmer aims at removing the birthmark in Georgiana’s face that made her imperfect. Aylmer wanted to make her to be perfect in order that they

Direct marketing plan for expatriate sports and health centre Essay

Direct marketing plan for expatriate sports and health centre - Essay Example The direct market plan for developing the club will: i. First, create the overview of health and sports marketing to create the required brand’s message ii. Next, proceed to determine how the message fits the club’s development, and match the opportunities with the new brand message. iii. Finally, the health and sports club should be determined by the strategic business formula, and a clear, concise and meaningful approach applied. The centre will begin providing sports and health services in the city for expatriates and their families. The centre will start operating from January 2012 as per the schedule program. 1.0 Introduction The market focus for the direct marketing plan is provided by an extensive market fronts in Expatriate Sports and Health Centre and the larger global markets. The composition of business growing levels brings about the Expatriate Sports and Health Centre’s relevance into the significant market exploration of Real’s product bases. This is competitively provided in view of the marketing strategy process and within the evidenced market penetration, the business explains its promising role in exploring the potentially rich sporting markets in Expatriate Sports and Health Centre. ... 1.1.2 Business Description The children and/or adults can spend all the time in the centre taking part in a number of activities including multi-sport coaching programs offered. The club will offer a number of sessions that are intended to help built and improve the participants’ health and in some instances professional wellbeing. The centre will cover several types of sports including cricket, football, tennis, hockey, dance and martial arts. On the health side, a modern gym will be set up to gather for the general physical exercises such as weight loss programs. 1.1.3 Management description The overall management will be vested on the members of staff. The top level managers will be undertaken by the board of directors. Individual day-day responsibilities will be done by the management. The appropriate strategy for running the centre will be based on relevant laws and regulations. Specific areas which would require an inclusive leadership would also be determined. 1.1.4 Pur pose of the direct market plan This plan is intended to propose a project which will include developing a structure that offers a range of facilities from fitness to social connection. The layout and atmosphere will certainly meet internationally accepted standards. Further, the club will be completed with luxuriant steam rooms, plunge pools and saunas. There will be an extension which will be based on customized needs. For instance, the plan will have secluded sessions for treatments. It will also have other secluded areas for rejuvenating toning and also for slimming regimes. The direct market plan will make a proposal including relevant feasibility study evaluations and operational determinations. 1.2 Strategic Plan The strategy

Research Paper Example | Topics and Well Written Essays - 1250 words - 21

Research Paper Example ounding, the Toyota Company was trying to contribute to a more prosperous society by means of manufacturing its automobiles and operating with a focus on vehicle production and sales (History of Toyota, n.d.). In the present time, the biggest Toyota competitors are the General Motors, the American automobile corporation, For Motors, the American company and Honda Motor Company, the Japanese automobile enterprise. The company is guided by the main principles, which are to honor the language and spirit of law of that country where it operates, contribute to the economic and social development through corporate activities, provides clean and safe products and to increase the quality of life through sustaining the high quality of the activities of company (Guiding Principles at Toyota, n.d.). There is no other industry in the world that the automotive one with the largest volume, capital, employees and annual turnover. Therefore, history knows hundreds of companies which emerged in order to display the certain country or the world their own provision in such industry. Toyota Motor Corporation is among them, having the long history of its performing and the story in which it faced challenges that taught it how to become the best Asian product known in the global market. However, due to the severe competitiveness, the immediate, impending and invisible, and the wide range of offers that Toyota’s competitors are ready to provide to their customers, the company should always think of new strategies and ways of how to improve its performance in order to stay on the world leading position. The important strategic marketing objective of Toyota is to build sales by widening the market. Therefore, Toyota moved towards in its product branding from the corporate branding con cept, presenting its Lexus as the outcome of this strategy. As it is seen on the Figure 1, there is an increase in sales and production of Toyota vehicles since 2008 (Review of operations, 2014). Moreover,