Dangdut Jazz and Indonesian Popular Music Essay Example

Dangdut: Jazz and Indonesian Popular Music Paper Dangdut is a genre of Indonesian popular music that is partly derived from Arabic, Indian, and Malay folk music. It developed in the 1970s among working class Muslim youth, but especially since the late 1990s has reached a broader following in Indonesia. A dangdut band usually consists of a lead singer backed by four to eight musicians. The term has been expanded from the desert-style music, to embrace other musical styles. Modern dangdut incorporates influences from Latin, house music, hip-hop, RB, reggae and even Western classical music. Most major cities, especially on Java, have one or more venues that have a dangdut show several times a week. The concerts of major dangdut stars are also broadcast on television. In 2003 singer Inul Daratista became the subject of much controversy and criticism from conservatives over her suggestive, erotic style of dancing during televised shows. MyIndo. com reported in 2003 that Project Pop, an Indonesian Nu metal band, released a humorous tribute to dangdut titled Dangdut Is The Music Of My Country. Leading dangdut artists include: * Rhoma Irama (King of Dangdut / Most popular singer since 1970s) * Elvy Sukaesih (Queen of Dangdut / Most popular singer since 1970s) * Inul Daratista (Creator of Goyang Inul which sparked the anti-pornography controversy) * Evie Tamala * Mansyur S. * A. Rafiq * Dewi Yull * Fahmy Shahab * Meggy Z. * Camelia Malik * Dorce Gamalama Because the popularity of the genre, some movies and TV show are made about Dangdut themes such as Rhoma Iramas movies and Rudy Soedjarwos Mendadak Dan We will write a custom essay sample on Dangdut: Jazz and Indonesian Popular Music specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Dangdut: Jazz and Indonesian Popular Music specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Dangdut: Jazz and Indonesian Popular Music specifically for you FOR ONLY $16.38 $13.9/page Hire Writer

Anne Stevenson Essays - Human Development, Childbirth, Free Essays

Anne Stevenson Essays - Human Development, Childbirth, Free Essays Anne Stevenson " I thought you were my victory /though you cut me like a knife" (Stevenson 1-2) The opening lines of Anne Stevenson's poem The Victory set a tone of conflict. This poem, at its surface, expresses a mother's thoughts on giving birth to a son. Stevenson describes the mixed feelings many mothers have upon the delivery of their first born. The final release from pregnancy and birthing pains, coupled with the excitement of bringing a live creature into this world, at first seem a victory to the new parent. The author goes on to confute the event as a victory. Using words such as "antagonist" (5), "bruise" (6), and "scary"(13), she shows the darker side of childbirth. The mother has felt her own life's blood flowing that a stranger might live "The stains of your glory bled from my veins." (6-8). That she sees her own child as a stranger is evident in lines nine and ten, where the child is described as a "blind thing" (9) with "blank insect eyes"(10). The mother portrays her baby as a bug, not even human. In the last section of the poem, two questions are asked, attesting to the mother's internal conflict. "Why do I have to love you?/ How have you won?" (15-16). These unanswerable queries are some of the fundamental questions of our human existence. Below the topmost layer of meaning in The Victory, is an underlying theme that any parent or guardian will easily relate to. Children are born out of the great pain their mothers endure. They are helpless in one sense, yet they command the care of their parents. Stevenson describes the intrinsic helplessness of infants with the words "Blind"(9) and "Hungry"(14). Yet, this poem does not refer to new born babes alone. Birthing pains do not cease with the delivery of a child. The conflict described in this poem is felt by parents of adult children as well. All parents give of their lifeblood, at least in the emotional sense, in raising and maintaining their offspring. The Victory is a poem written as if by a mother only just delivered of a new born son, yet the themes expressed in its lines apply to all the stages of human life. Stevenson seems to stress the pain that is felt when one life brings forth another, but there are many pains felt by parents in ways unphysical. "You barb the air. /You sting with bladed cries" (11-12) these are sharp words that bring thoughts of tangible pain. These words also describe mental and emotional pain that is felt by many parents who sacrifice much for their children. The poem does not place a guilt on the baby nor, therefore on children in general. It seems to acknowledges the turmoil of birth and life as natural. The child who is born today, collects the sacrifice of its parents and will make sacrifices for the child born tomorrow. Even though The Victory is worded to sound resentful, as though the mother begrudges her child his new found life, it also has a resigned tone. The mother accepts her lot, however painful. Even deeper into this poem is the hint of feminism. The author chose the sex of this baby intentionally. She used two references to a knife, indicating pain inflicted in a manner unnatural. The knife has traditionallybeen a man's weapon. "Tiny antagonist" (9) could refer to the entire male gender. "Scary knot of desires" (13) is a reference to the sex act, which is sometimes seen as male aggression. The child is the manifestation of this act. "Hungry snarl! Small son." (14) the use of an animalistic noise directly precedes the revelation of the baby's gender. Once again Stevenson's choice of words reminds one of male aggression. The woman in the poem seems to feel cheated in bearing a male child to the man who is indirectly responsible for her condition. Why does she have to love him? Does that sum up the plight of woman? Is it Eve's curse that woman shall embrace man, though in so doing she must suffer childbirth to bring forth more men? (Or daughters who shall suffer likewise.) Is that how he has won? The Victory asks

Talk to Frank Programme Essay Example | Topics and Well Written Essays - 4000 words

Talk to Frank Programme - Essay Example The UK government, concerned about the rising illicit substance use, and its helplessness in combating it tried something novel in 2003. It launched an anti-drug campaign called ‘Talk to Frank’ which is a combination of drug related information and helpline for addicts and casual users. â€Å"The government says it is the first campaign aimed at parents and carers as well as teenagers.†Ã‚  The helpline, in fact can be used by anyone interested or concerned about drug usage by a relative or a friend. The campaign is implemented with the backing of the UK Home Office, the Department of Health, and minister of education. Critics say that the campaign only addresses use of class A drugs. The UK law has classified illicit drugs into three categories namely class A, B, and C. The Home Office has included the following drugs as coming under class A namely â€Å"Ecstasy, LSD, heroin, cocaine, crack, magic mushrooms, and amphetamines.† (Drugs).According to the Misus e of Drugs Act, the most harmful among the above classifications is included under class A. The Act proclaims that â€Å"These drugs are termed as controlled substances, and Class A drugs are those considered being the most harmful.† (Drug laws & licensing). The campaign is shown as advertisements on TV and the press and only says that a help-line is available along with a website called â€Å"talktofank.com.† In other words, the website and the helpline comprise the whole programme. The website appears a bit garish or even psychedelic. It can be said that the site is very unattractive visually and is badly designed. It has five main menus, namely ‘A-Z of drugs, Join In, Talk to Frank, Worried about someone, Need Help, and Share. It also clearly shows the helpline number on the top of the page. The Join In section enables the public to share their experiences with others. The section also provides information on how drugs alter the state of mind. A lot of importa nce is given to cannabis and cocaine, probably because of their dangers and widespread use. More links on how ‘ecstasy’ and ‘LSD’ affect the mind is also provided. As an example, an extract of the information the site gives on cocaine is given below. â€Å"Coke is very addictive. It can be difficult to resist the craving and strong psychological dependence due to changes in the brain. Recent evidence suggests possible long-term changes to the nervous system.  

International Supply Chain Design Assignment Example | Topics and Well Written Essays - 2750 words

International Supply Chain Design - Assignment Example This country is currently rated as a high-income nation other vital statistics updated in 2012 including 97% of the rural population have access to water, life expectancy at birth stands at 75 years, and a national per-capita income of $24,310 (World-Bank, 2014). Saudi Arabia has among the largest oil reserves in the world and stands among the biggest suppliers of oil in the world. Before the transition of the economy to an oil-driven economy, Saudi Arabia had a slowly growing economy which was run by subsistence Agriculture. Through the years, the drafting of the national budget has highly been influenced by the estimated national oil price for the expected year. With sometimes the unpredictable oil price change implicated the first budget deficit in Saudi Arabia in 2009 (Ramady, 2010, p. 44). Thus, it is evident that this industry is the economy is over-dependent to the oil sector for the purpose of running its economy. To try to counter this, the government is advocating to suppor t other foreign and domestic investors to invest away from the oil market for the purpose to de-monopolize the country's economic outlook. Saudi Arabia is the largest oil supply in the world. As a kingdom, this country played a vital role in its contribution to the world’s economy. Oil exploration in this country was started as early as 1933 and ever since the nation has maintained its relevance to the global economy by controlling an asset that directly contributes to the stabilization of the world’s economy.  

Consumer Behavior Essay Example | Topics and Well Written Essays - 2000 words - 1

Consumer Behavior - Essay Example . A lot of say is also from the word of mouth approach which suggests that the friends and family circles play a very positive and vibrant role in the whole equation. When we talk about the consumers’ needs of understanding their own self in a better manner, we must make note of the self concept which discusses a person’s understanding of his own personality and what does or does not echo his personal statements. This could include issues like his mood shifts that can happen with the changing seasons, the attachment of peculiar feelings with certain colors and going out of the way to buy a certain piece of cloth which is usually not considered a viable option when it comes to buying by the masses. Thus the self concept is quintessential since it underpins his own notions related with the fashion needs and in what manner he can best fulfill the very same. As stated earlier, the people who are considered amongst the aspired groups by the relevant sets of consumers, who ar e about to make a potential purchase, are the right people to which these consumers can actually focus their symbolic wishes and aspirations. This aspired group could be consisting of those people who are looked upon at by the consumers with a sense of desire and yearning and the consumers always make sure that they buy this just to remain attached with the aspired group.

Montessori method in developing childrens creativity

Montessori method in developing childrens creativity How effective is the Montessori method in developing childrens creativity, both during early years education and throughout primary school education? There are currently approximately 700 Montessori schools operating in the United Kingdom, and this number is growing annually (Montessori St. Nicholas, 2010). The vast majority of these schools cater for children between the ages of three and six. However, in more recent times, there has been a gradual establishment of Montessori schools that provide primary school education for children older than six. There are now about thirty such primary schools in the United Kingdom (Montessori St. Nicholas, 2010). Although this is still a relatively small number of schools on a national scale, it is nevertheless an interesting increase to investigate further. These schools use the Montessori method to both educate children, and further their holistic development. Before a brief discussion of what differentiates the Montessori method of education from other educational pedagogies, it is important to know and understand the underlying principles that all Montessori schools adhere to for the benefit of the children who attend them. The Montessori method is based on the ideas and theories of Maria Montessori, an Italian physician who experimented with giving young children more freedom, both to direct their own learning, and work and learn at their own pace. In the process, she arrived at two pivotal (and, at the time, somewhat controversial) conclusions. Firstly, she surmised that young children possessed an innate desire to learn (Montessori, 1994). Secondly, she found that young children, contrary to popular belief, were capable of exhibiting high levels of independence and cognitive development for their age under the right conditions. In this respect, it can be argued that they are being treated as individuals. Montessori (1964) strongly believed that all young children were unique beings and should, therefore, be treated as individuals. Furthermore, she reasoned that young children, as well as having the benefit of self-directed and child-centred learning, should also experience a hands-on approach to educ ation (Lillard, 1980), using learning materials that stimulate all five of the human senses. The interaction with, and the manipulation of, ostensible Montessori materials is, arguably, one of the most renowned aspects of the Montessori method. Broadly speaking, these materials are organised into five basic categories: language, mathematics, sensorial, practical life and culture (Lopata et al, 2005). Pickering (1992) believes that these materials help children to understand what they learn by associating an abstract concept with a concrete sensorial experience. Furthermore, Montessori materials are carefully designed to be both sensorially stimulating to young children, and multifunctional to allow for a more open-ended, divergent approach to learning. Another important theme common to all Montessori materials is that they are of gradually increasing difficulty and complexity (Oberle and Vinson, 2004). It is vital that these learning materials meet these criteria, because, as Montessori (1964) stated: little ones†¦can work only on the materials we give them. In other wo rds, if the materials provided for the children are uninteresting, irrelevant or unviable, then it can be argued that a child is unlikely to be able to fulfil their potential. One final issue in relation to the background of the Montessori method regards the layout and features of the learning area. It can be seen that it visibly reflects the child-centred nature of Montessori education. For example, desks and chairs are not only child-sized, but also spread wide apart (Mooney, 2000) and arranged in rafts (Oberle and Vinson, 2004) allowing children to move around the whole area freely whenever they so wish, and helping to prevent crowding. Materials are kept in accessible places, such as appropriately low shelves (Lopata et al, 2005), so they can easily be obtained and utilised by the children at any time. It is the presence of child-orientated considerations such as these that create Montessoris (1964) ideal of the prepared environment. Such environments allow [children] to take responsibility for their own education, giving them the opportunity to become human beings able to function independently and hence interdependently (Montessori, 1964, cited in Lo pata et al, 2005). In summary, Montessoris approach to education advocated that childrens innate desire to learn could be successfully nurtured and accommodated, as long as they are provided with the right environment and the appropriate materials (St. Nicholas Montessori, 2010). Having briefly discussed the principal background information regarding the theory and practice of the Montessori method, it is now important to consider the principal teaching and learning differences between a Montessori and a traditional primary education. One important organisational and structural difference is that each class in a Montessori setting has an age span of at least three years (Isaacs, 2007). These classes share two features in common with traditional education, however: they are mixed-ability, and contain a similar number of children per class (around thirty) to a traditional primary school (albeit not all the same age). The timetable is scheduled differently to traditional settings. Instead of children taking part in a series of lessons in different subjects between the duration of thirty minutes and one hour, the day is split into two three-hour, uninterrupted work periods (Oberle and Vinson, 2004). An important point to note here is that Montessori defined work as childrens instinctive tendency to develop through spontaneous experiences in the environment (Montessori, 1964), further advocating her idea of children acting in a self-directed way. Moreover, in addition to being encouraged to work independently at their own pace, children are never interrupted by the teacher if they are busy working on a task or activity. One final notable difference between a Montessori and a traditional learning environment relates to the role of the teacher. Montessori did not use the term teacher to describe the adult charged with the education and well-being of the children in their care; instead, she used the term guide or mediator (Lillard, 1980). This symbolises the idea that the adult in a Montessori setting should be seen by the child as a facilitator to their educational development, not an authority figure. Generally speaking, teachers operate on a one-on-one basis with different children, and there is little whole-class work (Lopata et al, 2005). The teaching approach is much more indirect than in mainstream education: the adult acts in a more observational and advisory capacity. Montessori (1964) maintains that the combination of the learning environment and this indirect teaching method encourages self-discipline, even in the case of younger children. If, however, a child displays undesirable or disrupt ive signs of behaviour, then the adult will seek to amend the childs focus to some positive activity, rather than reprimanding them or imposing any kind of sanction. Although, according to Pickering (1992), such instances are comparatively rare due to the childs level of self-discipline, when they do happen they can be dealt with in a supportive manner without undue disruption to others. As mentioned before, a popular view exists among many people that the Montessori method is solely both suitable for, and aimed at, young children under the age of six (Montessori St. Nicholas, 2010). However, there has been a recent increase in the number of purpose-built Montessori primary schools, catering for children aged between six and eleven. The classes in such schools comprise two vertical age groups: the first for children aged six to nine; the second for children aged nine to eleven. Montessoris underlying theoretical principles remain the same for this older age bracket; however, there are some practical and organisational differences associated with a Montessori primary schools provision for older children. Such differences include the fact that the children no longer just choose what to work with (Montessori St. Nicholas, 2010). Furthermore, they are empowered to manage a weekly plan with activities both of which they negotiate with their teacher (Montessori St. Nicholas, 2010); this is tailored to the individual childs needs. This suggests that the learning is still child-centred and self-directed to a certain extent, but there is an increase in autonomy and responsibility for ones own learning. To begin with, children are assigned weekly tasks in mathematics, literacy and science; as they get older, these tasks begin to encompass all curricular subjects (Montessori St. Nicholas, 2010). In accordance with Montessori thinking, however, the child can choose when to complete the tasks and engages in frequent tutorial discussions with the teacher (Montessori St. Nicholas, 2010). It can be argued that the reason for this is to encourage and nurture childrens developing time and task manage ment skills, and to take an active and co-operative role in their personal development and learning. This sense of collaboration also extends to working with other children in small groups, which happens on a more regular basis than in a Montessori early years setting. Together, they can share ideas and collaborate on various projects. Other important differences include the notion that Montessori primary schools make no attempt to work to an externally developed curriculum (Mooney, 2000); however, Montessori St. Nicholas (2010) claims that the curriculum not only fully meets the requirements of the National Curriculum (an example of an externally developed curriculum), but also goes beyond it in certain subjects. Many activities relate to National Curriculum subjects, although they will not appear as such to the children (Oberle and Vinson, 2004). This nonconformity to external guidelines also stretches to the method of assessment. There is no formal testing in Montessori primary schools (Lopata et al, 2005): conversely, teachers make continuous observations to evaluate childrens progress and allow children to participate in the evaluation of their learning (Montessori St. Nicholas, 2010) during their education in a Montessori primary school, further highlighting the child-centred approach taken. A central aspect of a young childs development and learning, one which will serve them and be a useful attribute to them, both as they progress through the educational system, and through adulthood, is creativity. As a concept, it is somewhat difficult to define; however, the Department for Education and Employment (DfEE) published an influential report in 1999 entitled All our futures: creativity, culture and education, which attempted to do so. The report defines creativity as follows: imaginative activity fashioned so as to produce outcomes that are both original and of value (DfEE, 1999). This definition is then broken down into four characteristics. Firstly, they [the characteristics of creativity] always involve thinking or behaving imaginatively. Secondly, overall this imaginative activity is purposeful: that is, it directed to achieving an objective. Thirdly, these processes must generate something original. Finally, the outcome must be of value in relation to the objective. (DfEE, 1999). It is important to consider whether all of these constitutional elements of creativity are present in any particular aspect of the Montessori method, in order to argue their effectiveness in developing childrens creativity. The importance of developing childrens creativity is highlighted in a 2003 report by the Qualifications and Curriculum Authority (QCA). The report states that learning to think and behave creatively can transform pupils lives†¦it increases their motivation, self-esteem and levels of achievement. Beyond school, it enriches their lives and prepares them for the world of work. Therefore, it is crucial for each individual child to be given the means and opportunity to develop their creativity throughout their educational careers: by becoming creative individuals, they can both make valuable economic contributions and become valued members of society (Cropley, 2001) According to Oberle and Vinson (2004), there are a number of critics of mainstream education frameworks who argue that they stifle creativity. However, in stark contrast, Berliner (1975), cited in Pickering (1992), states that other critics have raised objections against the Montessori method. These critics believe that it is the Montessori method, and not mainstream methods of teaching and learning, that inhibits creativity, due to its cognitively-oriented nature. The fact that opinions seem to differ on the subject suggests that the Montessori method has some advantages and some disadvantages with regard to the aim of developing childrens creativity. The other factor to consider is whether creativity is encouraged and fostered both during the time when a child attends an early years Montessori setting, and during the time when they attend a Montessori primary school. The effectiveness of a number of key aspects of the Montessori method with regard to the development of childrens creativity, both during early years education and throughout primary school education, will be discussed. These particular aspects have been chosen because they contrast with aspects pertaining to mainstream early years and primary school education. Some of these aspects are universal to both Montessori early years settings and Montessori primary schools; others solely pertain to older children (in this context, those aged six to eleven) in Montessori primary schools. Children are given the chance to direct their own learning. This can help to provide them with the self-confidence they need to be inventive and take risks with their learning; this is an important aspect of the creative process. It also allows children the freedom to experiment with different learning styles, such as visual, auditory and kinaesthetic (Jones and Wyse, 2004), through their individual manipulation of the materials available. It can be argued that this will increase the chance of a child discovering their preferred learning style, thus making them more receptive to new ideas and ways of thinking. This can also assist with their creative development, as they can use these new approaches to solve new and existing problems. Children are allowed to work and learn at their own pace. This illustrates the notion that Montessori settings are completely inclusive, allowing an education for all approach to be embodied in their framework. It is well documented that children develop at different rates, so this can make children feel more comfortable about their learning. More able children have the opportunity to extend themselves; less able children do not feel left behind (Pickering, 1992). This can prevent children at both ends of the ability spectrum from becoming uninterested or frustrated, both of which have the potential to inhibit creativity if the childs mind is not on the task at hand. The Montessori method offers a child-centred, hands on approach. Montessori (1964) believed that true creativity stemmed from individual freedom of expression. It can be argued that this hands on approach offers children the opportunity to express themselves in creative ways through, for example, drawing, cutting, gluing, painting and so on. However, it is important that the child has a sense of purpose when undertaking such activities, in order to fulfil the criteria of creativity. As the teacher is often not directly involved in what the child is doing, the danger exists that the child may be acting randomly, thus not working towards a particular objective. The materials used allow for multi-sensory learning. This is another way in which children with different preferred styles of learning can benefit. Isaacs (2007) argues that creative development has significant links with the sensorial materials area, particularly if [we] understand the childs creativity to be the ability to use their imagination. Through various combinations of visual, auditory, tactile and kinaesthetic materials, it is possible that children will increase their knowledge and understanding of the world, and, more importantly, retain this knowledge and understanding through recalling these multi-sensory experiences. It can also be argued that this will foster childrens curiosity about the world around them and how it works; Fishkin and Johnson (1998) emphasise that a link exists between curiosity and creativity: they fuel each other. The materials are multifunctional; learning can therefore be open-ended and divergent. Divergent thinking can help children to generate creative ideas by exploring many possible solutions to a particular problem (Craft, 2002). It is the childs decision how they choose to utilise the materials: it can be said that this encourages an independent thought process. According to Starko (2005) having the means and opportunity to think independently is one of the building blocks of creativity. The materials are of gradually increasing difficulty and complexity, as the children learn new concepts, and apply their previous knowledge and skills to solve new problems. It can be argued from this that these materials are cognitively oriented (Berliner, 1975, cited in Pickering, 1992), as they allow children to make connections and perceive relationships between what they have learnt before, and building upon these connections and relationships to allow them to progress to the next stage of learning. Montessori (1964) argues that, without this type of cognitive scaffolding structure, true creativity simply cannot exist. Materials are kept in accessible places; appropriately low shelves facilitate this easy access. Moreover, early years children are shown how to use sharp scissors and adult-sized tools safely (Mooney, 2000): although this is perhaps the most controversial aspect of the Montessori method (Isaacs, 2007), it serves to further highlight the Montessori self-directed approach, and makes children more responsible for their own learning. Children need to consider what best tools and materials are for whatever purpose they have: it can be argued that being given the opportunity to choose allows them to think in creative, novel ways about what to do and how to do it. Desks and chairs are child-sized and arranged in rafts. Each raft has a particular activity assigned to it; these typically change on a daily basis (Isaacs, 2007). Children have the freedom not only to move around the rafts (and there is ample space between them to allow them to do so), but also to work with other children. A fundamental aspect of a Montessori setting is that all children respect and care for each other, and that caring attitudes are adopted at all times, towards peers, teachers and life itself (Oberle and Vinson, 2004). This fosters collaboration between children; by sharing ideas and information, they can work together creatively and discover new ways of thinking and working. Children have freedom of movement around the learning area: they can move of their own volition between one learning activity and another, rather than being directed to them at any particular time or in any particular order. This highlights another aspect of how Montessori believed childrens creativity could be developed: the freedom for them to select what attracts them in their environment (Nunn, 2010). This sense of freedom also gives children the opportunity to act with a degree of spontaneity, which can allow the generation of a large number of novel and diverse ideas (Jones and Wyse, 2004), thus instigating and developing the creative process. Each mixed-ability class has an age span of at least three years. Particularly in Montessori early years settings, older children can act in a mentoring capacity to younger children (Lillard, 1980). This can help to scaffold childrens learning and thinking, as the older children can, if they wish, help the younger children with whatever they are doing, so that the younger children will eventually be confident enough to work and think independently, and thus begin to think and work more creatively. It is important, however, that the older children do not spend too great a proportion of their time doing this, however thoughtful and considerate it is; they need to further their own knowledge and understanding too. The day is split into two three-hour, uninterrupted work periods. According to Oberle and Vinson (2004), it has been suggested that children taught under the Montessori method are not allowed enough time to simply play. This is problematic to an extent, as research evidence suggests that childrens creativity can be developed through play (Duffy, 2006; Craft, 2000; Smith, 1995). A possible negative implication of this is that children are not encouraged to use their imaginations due to a notable deficit of creative play time factored into a Montessori setting (Seldin, 2009). Children are never interrupted by the teacher when they are engaged in an activity. This allows children to persevere with what they are doing. This can be beneficial to creativity to an extent, as it gives children time to think through the activity in different ways before arriving at a final solution. However, on a cautionary note, it is important that the teacher, though generally involved in an indirect capacity, monitors what children are doing in order to ensure that this perseverance is constructive, and, more importantly, purposeful. The teaching approach is much more indirect. Pickering (1992) argues that because the classes are run to a very large degree by the children, with only the degree of adult guidance necessary to ensure order and safety, the setting becomes emotionally safe and secure. If this ideal can be practically adhered to in a Montessori setting, then children can relax and be authentic individuals instead of trying to be cool. This, in turn, helps to allow their creativity to blossom (Cropley, 2001), as it diminishes the risk of social issues such as wanting to be popular, and alienation. Some aspects that only predominantly relate to Montessori primary education will now be discussed in relation to their effectiveness in developing childrens creativity beyond the early years. Children negotiate weekly activity plans with their teacher. This gives children the opportunity to pursue an area or topic that interests them, which the child will not only enjoy, but from which the child will also gain a sense of purpose and direction: a key aspect of creativity. However, this does not necessarily have to be the case (Montessori St. Nicholas, 2010). A child may be curious to find out about an area or topic that is new to them. In this instance, they can work and think independently. This combination of independent thinking and curiosity can help to develop their creativity by asking new questions and thinking in new ways about new ideas and concepts. Moreover, children are allowed to choose when to complete assigned weekly tasks, and engage in frequent tutorial discussions with the teacher. Referring back to a previous issue, this allows the child to work at their own pace, as it allows them to set themselves achievable goals, and work to these goals through this weekly planning. It can be argued from this that the childs opinions are greatly valued, and, to a certain extent, this collaborative process treats the child as an equal by making them more autonomous about their learning. As discussed before, this can boost their self-confidence, which, in turn, helps them to be more inventive and take risks with their learning: a key aspect of the creative process. During the primary school years, children begin to work in small groups, although there is still very little whole-class work. Working with others can allow children to compare ideas and thoughts, solve problems and assimilate new knowledge. According to Craft (2000), working with other children in small groups can nurture creativity, as it stems from social processes as well as individual processes. Sharing ideas and thoughts, and solving problems by thinking creatively, is one such social process. Montessori primary schools meet the legal requirements of the National Curriculum, although they do not follow it to the letter. This allows the childrens educational experience to be based on their own particular needs (Montessori, 1964), which can be informally, but constructively observed and assessed. There is no formal testing or assessment (for example, Standard Attainment Tests). It can therefore be argued that this helps to eliminate competition between children. Competition can be a barrier to creativity (Starko, 2005) because, on a social level, some children compare their achievements to others, which could adversely affect some childrens self-esteem. Fishkin and Johnson (1998) argue that a childs fear of failure also inhibits the childs creativity, as they may lose the self-confidence required to think in a creative way. Montessoris view on this is also made clear: the child in the Montessori classroom is†¦free from the judgement by an outside authority that so annih ilates the creative impulse (Nunn, 2010). In conclusion, the evidence suggests that both early years and primary school settings that follow the Montessori method can help to develop childrens creativity throughout this age range through its support of independent, self-directed, purposeful learning activities with stimulating, multifunctional learning materials in a free, accessible learning environment. Children have the opportunity to think and behave imaginatively through the processes of curiosity and exploration. This is not to say that the Montessori method is the only type of pedagogy that can develop childrens creativity. Mainstream early years settings and primary schools are certainly capable of doing so: although there is more emphasis on teacher-led, carefully planned, systematic learning, there is still scope for the development of childrens creativity. The Montessori method, while different to traditional learning methods in many respects, achieves the same outcome, but in a very different way. In Montessori s ettings that faithfully follow Montessoris underlying principles, children can acquire and develop the three qualities that Montessori believed were necessary for creative endeavours: firstly, a remarkable power of attention and concentration; secondly, a considerable autonomy and independence of judgement; and, thirdly, an expectant faith that remains open to truth and reality (Nunn, 2010). Montessori believed that all children possessed tremendous creativity. This creativity is directed towards becoming a developed individual, endowed with a sensitive soul, an eye that sees and a hand that obeys (Nunn, 2010). This was Montessoris idea of the basic qualities inherent to a creative individual: these qualities, if given the chance to develop through the correct implementation of the Montessori method, will serve the child throughout their educational career and subsequently during their adult lives. Evaluation of my learning and its management I needed to ensure, for the purposes of this module, that I supported my transfer from an initial teacher training course to an educational studies course. In order to build a bridge between the two, I needed to find a topic that related, in some way, to one module from my previous course, and another module from my new course. In order to support my transition between courses, I needed to investigate a topic of which I had prior knowledge and experience of writing about, and think about it less in terms of the practical teaching context, and more in theoretical terms of how children learn, with the possibility of considering broader educational issues. In truth, my reason for choosing to focus on the Montessori method of education happened somewhat by chance. The idea was not suggested to me, nor did I harbour any previous interest in it. I first became interested in the Montessori method, however, when a lecturer gave me a piece of advice on another piece of written work for a different module. I was advised to consider Montessoris ideas on fantasy play, as the lecturer felt that it would lead to an interesting argument. It was because of this advice that I decided to investigate the Montessori method in more depth, forming an interest in it in the process, which also helped me to complete the piece of work from the other module. The Montessori method of education, so I thought, focused on early years education; I therefore felt that it could be regarded as an early years issue. Consequently, the first module chosen as the basis for this independent learning module related to early years issues. Before I began this assignment, I knew very little about the Montessori method of education. I was aware that they used an array of specialised Montessori materials, but I was unaware of what was particularly different or unique about them. I then discovered that, although comparatively few in number, Montessori primary schools existed in the United Kingdom. This meant that I could investigate an aspect of the Montessori method in the context of one of my previous modules, which were tailored to primary school, as opposed to early years, education. I chose to link this to a module from my previous course concerning creativity in the primary curriculum, as, honestly, it was the only one at the time that I thought I could attempt to link to the early years module on my current course. As I mentioned, my first discovery was that there are some Montessori settings, albeit not many, that cater for children beyond the early years. I also discovered that the implementation of the Montessori method was completely different to anything I had read about or observed before. Its principles were based on self-directed, independent learning; children seemed to enjoy a considerable amount of freedom. Each class had an age range of three years. Children were even taught how to use sharp knives from a very early age. All of these ideas, and many others, surprised me, and I wondered how this system could possibly work. However, I knew that the system must work; otherwise Montessoris ideas and theories would not have made it past the drawing board stage. It was then my task to find out how this system worked on a daily basis, which I found interesting as it made what I considered to be an improbable educational system possible. Regarding the development of childrens creativity, when I found out about the implementation of the Montessori method, both in early years and primary school education, I found out that it was the children themselves, and the learning environment, that were responsible for nurturing the skills and attributes necessary to promote their creative development. It was not the teachers overall responsibility, although they could intervene as and when necessary. As before, I found this interesting as it was a new concept and a new way of thinking to me. On reflection, I might have chosen differently. There are two reasons for making this statement. Firstly, the idea of creativity with regard to the Montessori method is a comparatively small area for discussion, and it was difficult to find suitable research materials. I found it difficult to make sense of, and synthesise, the information available to me. Although, as I discovered, Montessori did have her own views on

Essay --

The marketing environment has influenced the decision making of Dixons through the micro environment. This "consists of those organisations who either directly or indirectly influence an organisations operational performance" (Baines et al 2011) It consists of for example competitors. For Dixons in the uk they were influenced by "Best Buy" a retailer in the US, who is renowned for going the extra mile for their customers. They were going to open their first store in the uk in 2009, which would give Dixons even more competition in an already highly competitive market. This prompted Dixons to change their strategy to customers focused, as they knew with other firms offering service led businesses, they would fall behind. Best Buy delayed their launch until the first quarter of 2010, this allowed Dixons time to get their strategy in place before best buy launched. This enabled Dixons to get ahead of the competition. By the time Best Buy did roll out their first store, it was not a ma jor success and they eventually closed all stores, exiting operations in the uk in 2011. Dixons was a... Essay -- The marketing environment has influenced the decision making of Dixons through the micro environment. This "consists of those organisations who either directly or indirectly influence an organisations operational performance" (Baines et al 2011) It consists of for example competitors. For Dixons in the uk they were influenced by "Best Buy" a retailer in the US, who is renowned for going the extra mile for their customers. They were going to open their first store in the uk in 2009, which would give Dixons even more competition in an already highly competitive market. This prompted Dixons to change their strategy to customers focused, as they knew with other firms offering service led businesses, they would fall behind. Best Buy delayed their launch until the first quarter of 2010, this allowed Dixons time to get their strategy in place before best buy launched. This enabled Dixons to get ahead of the competition. By the time Best Buy did roll out their first store, it was not a ma jor success and they eventually closed all stores, exiting operations in the uk in 2011. Dixons was a...

How to Stop Worrying

General Outline Specific Purpose: To inform my audience on how to stop worrying and start living. Central Idea: We can stop worrying and start living by live in the moment, stop recycling the past, and stop trying to save the world. Main point 1: We can stop worrying and start living by live in the moment. Main point 2: We can stop worrying and start living by stop recycling the past. Main point 3: We can stop worrying and start living by stop trying to save the world.Introduction It is very easy to expend all of your energy worrying. I have learned that everyone worries to some extent it could be about something little like what you think you got on a test, or something big, like one of your family member is dying. One way to get out of the worry habit is to heighten your awareness of the present. Things are happening all around us every minute of the day. Why not focus on what is happening now by live in the moment.Outline of the Main Point Main point 1: We can stop worrying and st art living by live in the moment. 1. What is live in the moment? A. Live in the moment is all about living like there’s no tomorrow. 2. Several ways to live in the moment that can make us stop worrying and start living : A. Commit random, spontaneous acts of kindness – donate RM1 to a beggar, picking up a litter or complimenting someone. B.Minimize activities that dull your awareness of the moment – less use of phones and computer, instead go gardening, hiking and hanging out with friends. C. Smile when you wake up. References http://www. huffingtonpost. co. uk/2012/07/31/smiling-lowers-stress-health-benefits-laughing_n_1724400. html http://www. medicalnewstoday. com/articles/248433. php http://www. wikihow. com/Stop-Worrying-and-Start-Living www. positivelypresent. com/†¦ /15-ways-to-live-in-the-moment. html

Migrant workers - The opposite way of the American dream essays

Migrant workers - The opposite way of the American dream essays Migrant Workers: the opposite way of the American dream II ABOUT THE AUTHOR 03 III MIGRANT WORKERS IN THE USA AT THE DECADE OF 30 04 IV OF MICE AND MEN MIGRANT WORKERS 06 This present paper is about one of the most important American novels called Of Mice and Men by the Pulitzer Prize winner John Steinbeck. It is a story focused on two men who move from ranch to ranch in order to find work. It is set is Salinas, California, the authors birth place and it takes place during the Great Depression. Despite all the other themes and elements present on it, there is one that calls out attention most. We found very interesting the fact that all the characters, but the farmer owner and his son, were migrants and all of them had dreams and that throughout their histories none of those dreams came true. So, in order to understand that bad fortune it was necessary to study about that time period and learn more concerning the effect of the Great Depression on the Americans life. This could be seem unimportant at a first sight but it becomes very important when one realizes that it was not only the financial world that suffered with the stock market crash but the whole nation in its most far places and that all lives in America were affected in any way. Our aim is to show that in going to California looking for their dreams, the migrants were caught in a kind of mousetrap, a no way out situation. They were far from their houses, friends, parents, with no money on them. They were exploited and forced to work long and hard hours for insulting wages. They had no choice if they wanted to work. There were lots of them in the same situation and near them there was always another one that will be glad on taking the job. There are many other interesting themes such as lonely, loyalty, camaraderie presents on this novel but as we said above we are going to try to demonstrate how ...

Definition and Discussion of Middle English

Definition and Discussion of Middle English Middle English was the language spoken in England from about 1100 to 1500. Five major  dialects of Middle English have been identified (Northern, East Midlands, West Midlands, Southern, and Kentish), but the research of Angus McIntosh and others... supports the claim that this period of the language was rich in dialect diversity (Barbara A. Fennell, A History of English: A Sociolinguistic Approach, 2001). Major literary works written in Middle English include Havelok the Dane,  Sir Gawain and the Green Knight,  Piers Plowman, and  Geoffrey  Chaucers Canterbury Tales. The form of Middle English thats most familiar to modern readers is the London dialect, which was the dialect of Chaucer and the basis of what would eventually become standard English. Examples and Observations Chaucers Canterbury TalesWhan that Aprill, with his shoures sooteThe droghte of March hath perced to the rooteAnd bathed every veyne in swich licour,Of which vertu engendred is the flour...[When the sweet showers of April have piercedThe drought of March, and pierced it to the rootAnd every vein is bathed in that moistureWhose quickening force will engender the flower...](Geoffrey Chaucer, General Prologue to The Canterbury Tales, late 14th century. Translation by David Wright. Oxford University Press, 2008)Many Middle EnglishesMiddle English varied enormously over time and by region; Angus McIntosh notes that there are over a thousand dialectically differentiated varieties of Middle English. Indeed,  some scholars go so far as to say that Middle English is not... a language at all but rather something of a scholarly fiction, an amalgam of forms and sounds, writers and manuscripts, famous works and little-known ephemera. This is a little extreme, but certainly prior to the later fo urteenth century Middle English was primarily a spoken rather than a written language, and did not have official administrative functions in either a secular or religious context. This has resulted in a critical tendency to place English at the bottom of the linguistic hierarchy of medieval England, with Latin and French as the dominant languages of discourse, instead of seeing the symbiotic relationship between English, French, and Latin...By the fifteenth century Middle English was extensively used in the written documentation of business, civic government, Parliament, and the royal household.(Rachel E. Moss,  Fatherhood and Its Representations in Middle English Texts. D.S. Brewer, 2013) The Vocabulary of Middle English- In 1066, William the Conqueror led the Norman invasion of England, marking the beginning of the  Middle English  period. This invasion brought a  major influence  to English from Latin and French. As is often the case with invasions, the conquerors dominated the major political and economic life in England. While this invasion had some influence on English grammar, the most powerful impact was on vocabulary.(Evelyn Rothstein and Andrew S. Rothstein,  English Grammar Instruction That Works!  Corwin, 2009)- The core vocabulary of [Middle] English comprised the monosyllabic words for basic concepts,  bodily functions, and body parts inherited from Old English and shared with the other Germanic languages. These words include: God,  man, tin, iron, life, death, limb, nose, ear, foot, mother, father, brother, earth, sea, horse, cow, lamb.Words from French are often polysyllabic terms for the  institutions of the Conquest (church, administ ration, law), for things imported with the Conquest (castles, courts, prisons), and terms of high culture and social status (cuisine, fashion, literature, art, decoration).(Seth Lerer,  Inventing English: A Portable History of the Language. Columbia University Press, 2007) French Influence on Middle English- From 1150 to 1500 the language is known as Middle English. During this period the inflections, which had begun to break down during the end of the Old English period, become greatly reduced...By making English the language mainly of uneducated people, the Norman Conquest [in 1066] made it easier for grammatical changes to go forward unchecked.French influence is much more direct and observable upon the vocabulary. Where two languages exist side by side for a long time and the relations between the people speaking them are as intimate as they were in England, a considerable transference of words from one language to the other is inevitable...When we study the French words appearing in English before 1250, roughly 900 in number, we find that many of them were such as the lower classes would become familiar with through contact with a French-speaking nobility: (baron, noble, dame, servant, messenger, feast, minstrel, juggler, largess)... In the period after 1250,... the upper classes carried over into English an astonishing number of common French words. In changing from French to English, they transferred much of their governmental and administrative vocabulary, their ecclesiastical, legal, and military terms, their familiar words of fashion, food, and social life, the vocabulary of art, learning, and medicine.(A. C. Baugh and T. Cable, A History of the English Language. Prentice-Hall, 1978)- French continued to occupy a prestigious place in English society, especially the Central French dialect spoken in Paris. This prompted an increase in the numbers of French words borrowed, especially those relating to French society and culture. As a  consequence, English words concerned with scholarship, fashion, the arts, and foodsuch as college, robe, verse, beefare often drawn from French (even if their ultimate origins lie in Latin). The higher status of French in this [late Middle English] period continues to influence the associat ions of pairs of synonyms in Modern English, such as begin-commence, look-regard, stench-odour. In each of these pairs, the French borrowing is of a higher register than the word inherited from Old English.(Simon Horobin,  How English Became English. Oxford University Press, 2016) A Fuzzy Boundary[T]he transition from Middle to early modern English is above all the period of the elaboration of the English language. Between the late 14th and 16th centuries, the English language began increasingly to take on more functions. These changes in function had, it is argued here, a major effect on the form of English: so major, indeed, that the old distinction between Middle and modern retains considerable validity, although the boundary between these two linguistic epochs was obviously a fuzzy one.(Jeremy J. Smith, From Middle to Early Modern English. The Oxford History of English, ed. by Lynda Mugglestone. Oxford University Press, 2006)Chaucer on Changes in the Forme of SpeecheYe knowe ek that in forme of speeche is chaungeWithinne a thousand yeer, and wordes thoThat hadden pris, now wonder nyce and straungeUs thinketh hem, and yet thei spake hem so,And spedde as wel in love as men now do;Ek for to wynnen love in sondry ages,In sondry londes, sondry ben usages.[You k now also that in (the) form of speech (there) is changeWithin a thousand years, and words thenThat had value, now wonderfully curious and strange(To) us they seem, and yet they spoke them so,And succeeded as well in love as men now do;Also to win love in sundry ages,In sundry lands, (there) are many usages.](Geoffrey Chaucer, Troilus and Criseyde, late 14th century. Translation by Roger Lass in Phonology and Morphology. A History of the English Language, edited by Richard M. Hogg and David Denison. Cambridge University Press, 2008)

Is Technological Progress a Thing of the Past Essay

Is Technological Progress a Thing of the Past - Essay Example Government debt means that less money is being ploughed into funding technological process. As a result, people rely on private funding for technological invention, and this is hard to come by in most cases. In addition, the baby boomers generation means the society largely has older populations, who have already seen the best of technology. In the main, this means that there are fewer young and passionate inventors than there were before, and for that reason, there is a possibility of fewer inventions than seen in the past centuries. Computers have revolutionized operations in the world and enables people conduct operations that they were unable to do before. Its application in technological process means that there are more unlimited possibilities in the future for technological advancements. In the main, no single technological operation that exists without computer applications and simulations. The lecturer affirms that not all the low-hanging fruits of technology have been picked. Computers have the possibility to result in operations that were not possible before. Even so, there is the possibility of technologies that may revolutionize the world. For instance, the concept of a flying car can be quite interesting. Recently, hybrid cars have been invented, and they have proven their advantages in terms of fuel consumption and safety considerations. Although most important technologies have already happened, the future has unlimited possibilities. Simulation of chemical properties often results in new materials, which were undiscovered before. In addition, computer models sometimes result in accidental inventions, which may be both detrimental and beneficial. This means that technological progress may be both intentional and unintentional, and thus the future is unpredictable. In conclusion, the limits of technological progress are boundless and one cannot necessarily rule out technological advancement as outdated. Although it

The causes of obesity in childhood Essay Example | Topics and Well Written Essays - 2000 words

The causes of obesity in childhood - Essay Example This essay "The causes of obesity in childhood" describes the scale of the problem across the World and the factors that lead to it. The attention attracted by cases of obesity across the continent is great because of its alarming rates. Researchers reported an increase in the prevalence of the condition to a high-level raising eyebrow on the same. In the report by Anderson and Butcher, it was mentioned that 21% of school-age children on the European continent have the overweight condition. In that regard, a further drift into cases of obesity has risen to 5%. In addition, the US is a victim of the same menace recording 33% of overweight among the school going children with a 16% obesity level. Obesity is mythically associated with higher living standards yet among the developing countries, cases of obesity are on the increase and have resulted in the increase universal levels of the condition. The urban centers and suburban areas within the upcoming economies are the highest contrib utors to the levels of obesity in the world today because of their improved socioeconomic living status (Anderson and Butcher, 2006). That injects into the point that associates obesity with the influence and the wellbeing of modern families across the globe. I delve into an acknowledgment of the causes and risk factors that nutritionists and the medical profession include in their listing to be the contributors to the high levels of obesity in children. In that regard, they also grow up to becoming obese adults.