Race / Ethnicity: Compare and Contrast Essay

Although the topic of the certain short stories and poems have different themes and comprehension of what corresponding works that might have similar or different topics, will tell a person what racial background and ethnicities are represented in the short story â€Å"Country Lovers† and the poem â€Å"What It’s like to be a Black Girl†. Finding out whether the characters are the same, if the setting is different between the two, if the theme told outright or did one have to â€Å"think outside of the box† to determine its meaning will lead to what content the two have. If one literary work is a ballad or a play, if one is longer or shorter than the other one, if the tone is the same between the two works, if the language differs between the two works or if it is the same, and whether one works using metaphors, while the other uses similes, will give a person clues as to what the short story and the poem have as far as form, and style. The content of the short story of â€Å"Country Lovers† and the poem â€Å"What It’s like to be a Black Girl† have women who deal with unfairness for the reason of their race and has the main character or protagonist being a black female. Racism can be something that some people experience almost daily just like in the short story â€Å"Country Lovers â€Å". The short story called â€Å"Country Lovers† was written by Nadine Gordimer in 1975† (Clugston, 2010). This short story is about a forbidden love between a young black girl named Thebedi and a young white boy named Paulus Eysendyck which took place on a South African farm. The main characters Paulus and Thebedi were raised together. The setting of the story takes place in mainly three areas, which would be the farm house where the boy lives, the river where they meet to hide their relationship, and the village where the girl lives. The settings in the story help my understanding of the theme because it gives me a distinct awareness as to how the social classes play a part in the prohibition of love. The boy lives in a beautiful home that is described to be of a high social class. In the text the home is described as, â€Å"The kitchen was it lively thoroughfare, with servants, food supplies, begging cats and dogs, pots boiling over, washing being damped for ironing, and the big deep-freezer the missus had ordered from town, bearing a crocheted mate and a vase of plastic iris (Clugston, 2010)†. This quote from the text helps me imagine a well-to-do home for the boy. Paulus Eysendyck was the child of the farm owner and Thebedi’s dad worked for Mr. Eysendyck on his farm. Paulus (a white boy) and Thebedi (a black girl) played together and spent much of their youthful days with each other. As time passed they began to grow up and the closeness between the two also grew apart. They both knew that they could not be together openly. All the way through this short story there are many extraordinary consequences. The first takes place when the narrator talks about Paulus going away to school â€Å"This usefully happens at the same time when the author states about the age of twelve or thirteen; so that by the time early adolescence is reached, the black children are making along with the bodily changes common to all, an easy transition to adult forms of address, beginning to call their old playmates missus and baasie little master† (Clugston, 2010). However, the attachment formed between them as children is still there. Both Paulus’ and Thebedi’s parents never forbid them from seeing one another but there was always this unspoken knowledge that they knew it was wrong because they always seemed to be hiding the fact that they did spend a lot of time with one another. An example of this would be when Paulus came home from school and brought Thebedi a gift. â€Å"She told her father the missus had given them to her as a reward for some works she had done-it was true she sometimes was called to help out in the farmhouse. She told the girls in the kraal that she had a sweetheart nobody knew about, tat away, away on another farm, and they giggled, and teased, and admired her. There was a boy in the kraal called Njabulo who said he wished he could have brought her a belt and earrings. † (Clugston, 2010). There’s loss of innocence and forbidden love as described here when Paulus watches Thebedi wade in the water, â€Å"The schoolgirls he went swimming with at dams or pools on neighboring farms wore bikinis but the sight of their dazzling bellies and thighs in the sunlight had never made him feel what he felt now when the girl came up the bank and sat beside him, the drops of water beading off her dark legs the only points of light in the earth–smelling deep shade. † (Clugston, 2010). They were not afraid of one another, they had known one another always; he did with her what he had done that time in the storeroom at the wedding, and this time it was so lovely, so lovely, he was surprised . . . and she was surprised by it, too—he could see in her dark face that was part of the shade, with her big dark eyes, shiny as soft water, watching him attentively: as she had when they used to huddle over their teams of mud oxen, as she had when he told her about detention weekends at school. † (Clugston, 2010). The racialism sets in hard towards the end of this short story when Paulus Eysendyck arrived home from the veterinary college for the holidays. This is where he finds out that the young black girl Thebedi had given birth to a baby. When he finds out about the baby he goes to Thebedi’s hut to see for himself. When he reaches the hut and see’s the baby first hand â€Å"He struggled for a moment with a grimace of tears, anger, and self–pity. She could not put out her hand to him. He said, â€Å"You haven’t been near the house with it? â€Å"’ (Clugston, 2010). By his response when finding out that the two of them had created a life during their prohibited connection shows how he knew that such thing was not accepted in his society. As the story goes on Paulus returned to the hut where Thebedi and the infant child lived; and it states â€Å"She thought she heard small grunts from the hut, the kind of infant grunt that indicates a full stomach, a deep sleep. After a time, long or short she did not know, he came out and walked away with plodding stride (his father’s gait) out of sight, towards his father’s house† (Clugston, 2010). As you read on you get the realization that Paulus killed the infant child that day when he returned to Thebedi’s hut. â€Å"The baby was not fed during the night and although she kept telling Njabulo it was sleeping, he saw for himself in the morning that it was dead. He comforted her with words and caresses. She did not cry but simply sat, staring at the door† (Clugston, 2010). Reading this part of the story tells me that Paulus was very afraid that the community would find out about the relationship between the two and he tries to cover it up as if nothing ever happened between the two of them of which shows you how difficult life must have been back then with the racial discriminations. At the very end of this story the police had dug up the baby and brought charges against Paulus for murder. Thebedi up on the stand said â€Å"She cried hysterically in the witness box, saying yes, yes (the gilt hoop earrings swung in her ears), she saw the accused pouring liquid into the baby’s mouth. She said he had threatened to shoot her if she told anyone† (Clugston, 2010). Over a year had gone by when Thebedi returned to the court house; but this time she told the court that â€Å"she said she had not seen what the white man did in the house† (Clugston, 2010). Nadine Gordimer penetrates the normal life that guards a person from our own evaluation. As an aspect this insight, the writer also pierces the dissimulations of clandestine operatives, those ordinary-looking folk in one’s circle whose real lives are based on active opposition to the police state. What are exposed are not their secrets, but their humanity. Because of her testimony â€Å"The verdict on the accused was â€Å"not guilty†(Clugston, 2010). The poem â€Å"What It’s Like to Be a Black Girl (For Those of You Who Aren’t)† (Clugston, 2010), which was written by Patricia Smith in 1991. An explanation in its purest form of â€Å"What it’s like to be a Black Girl (for those of you who aren’t)† by Patricia Smith, is just that, an explanation. From the first three syllables â€Å"First of all,† the author gives a sense of a story being told. She uses jagged sentence structure and strong forceful language to also show the reader the seriousness of her topic. Smith’s poem gives the audience an insider’s view into a young black girl’s transition into black woman-hood at a time where both being a black girl and a black woman was not as welcomed. Puberty is usually defined by the biological changes a young girl’s body undertakes around the age of 9 up until about 14. â€Å"It’s being 9 years old and feeling like you’re not finished,† writes Smith, â€Å"like your edges are wild, like there’s something, everything, wrong. † (Smith, 4) These thoughts run through the minds of puberty stricken young girl. The poem, â€Å"What’s it like to be a Black Girl†, is a look into the mind of a black girl in a society that is fueled with racism and discrimination, both of race and gender. This person is transitioning from a young black girl into young black women and trying to accept the changes that are taking place within her body. She has been taught to be ashamed of who she is, what she looks like, and where she comes from. She wants her features to look like those who are accepted in society. Nadine Gordimer was born in 1923, â€Å"She has lived in South Africa since birth and, except for a year spent in university, has devoted all her adult life to writing—completing 13 novels and 10 short story collections, works that have been published in 40 languages. Her strong opposition to apartheid, the socioeconomic system that oppressed the majority black population in South Africa (1949—1994), is a dominant theme in her writing, with her later works reflecting challenges accompanying the changing attitudes in the country toward racial relationships. She was awarded the Nobel Prize for Literature in 1991† (Clugston, 2010). Patricia Smith who was born in 1955, was an African American poet and performance artist, has won the National Poetry Slam four times. The hardships that these women suffer during their life can be suffered by anyone but growing up in a discriminatory atmosphere creates a more dramatic story or outcome. The great thing about reading is that it brings you to another place, time and feeling. At times a story can make you smile with the character, and other times make you cry with him. Even with some stories and poems the literature may even allow the reader to identify with the characters. In conclusion, reality can often be a lot like a piece of literature, in that a person may be going through the exact same thing, or something similar, and be feeling the same way. It is effortless to view the tough and unspoken racism demonstrated in Nadine Gordimer’s â€Å"Country Lovers† as well as how the girl feels in Patricia Smith’s What It’s Like to Be a Black Girl (For Those of You Who Aren’t). In both readings you get a sense of the hardship’s that both the characters had faced because of racism; the things that people may do or allow happening because it is so hard. References Clugston, R. W. (2010). Country Lovers, Nadine Gordimer. In Journey into literature (chapter 3) Retrieved from https://content. ashford. edu/books/AUENG125. 10. 2/sections/h3. 2. Clugston, R. W. (2010). Poems for Reflection. In Journey into literature (chapter 12 section 2). Retrieved from https://content. ashford. edu/books/AUENG125. 10. 2/sections/sec12. 2.

Responsibilities of a paediatric first aider Essay

Maintain your own safety Contact the emergency services Give accurate and useful information to the emergency services Support the casualty physically and emotionally Appreciate your own limitations Know when to intervene and when to wait for more specialist help to arrive. PEFAP 001 1.2: Describe how to minimise the risk of infection to self and others Wash your hands with soap and water before and immediately after giving first aid. If gloves are available for use in first aid situations, you should also wash your hands thoroughly before putting the gloves on and after disposing of them.(Plastic bags can be used when gloves are unavailable.) Avoid contact with body fluids when possible. Do not touch objects that may be soiled with blood or other body fluids. Be careful not to prick yourself with broken glass or any sharp objects found on or near the injured person. Prevent injuries when using, handling, cleaning or disposing of sharp instruments or devices. Cover cuts or other skin-breaks with dry and clean dressings. Chronic skin conditions may cause open sores on hands. People with these conditions should avoid direct contact with any injured person who is bleeding or has open wounds. PEFAP 001 1.3: Describe suitable first aid equipment, including personal protection and how it is used appropriately. (Print off your PPE report) All first aid boxes should have a white cross on a green background. Guidelines published by the National Association of Child Minders, NCMA, as well as Ofsted and experienced paediatric first aid trainers, recommend that the first aid box in a child care setting should contain the items listed include: 1 first aid guidance leaflet 1 large sterile wound dressing 1 pair disposable gloves 10 individually wrapped wipes 2 sterile eye pads 1 pair of scissors 1 packet hypoallergenic plasters – in assorted sizes 3 medium sterile wound dressings 2 triangular bandages 5 finger bob bandages (no applicator needed) 4 safety pins It is recommended that you do not keep tablets and medicines in the first aid box. PEFAP 001 1.4: Describe what information needs to be included in an accident report/incident record and how to record it. Details of all reportable incidents, injuries, diseases and dangerous occurrences must be recorded, including: The date when the report is made The method of reporting The date, time and place of the event Personal details of those involved A brief description of the nature of the event or disease. Records can be kept in any form but must conform to data protection requirements . PEFAP 001 1.5: Define an infant and or a child for the purpose of first aid treatment. Paediatric first aid focuses on infants and children. An infant is defined as being from birth to the age of one year and a child is defined as one year of age to the onset of puberty. Children are however different sizes and a small child over the age of one may be treated as an infant. Similarly puberty can be difficult to recognise, so treat the child according to the age that you think they are, larger children should be treated with adult techniques. PEFAP 001 3.2: Describe how to continually assess and monitor an infant and a child whilst in your care. Remember your ABC and continue to monitor the infant or child in your care until you can hand over to a doctor or paramedic. A is for AIRWAY : check that the airway remains open. Always monitor a child while in recovery position. B is for BREATHING: Check that breathing is normal and regular. C is for CIRCULATION: check the pulse (if you are trained and experienced) but ensure you take no more than ten seconds to do this: (a) In a child over one  year : feel for the carotid pulse in the neck by placing your fingers in the groove between the Adam’s apple and the large muscle running from the side of the neck . (b) In an infant: feel for the brachial pulse on the inner aspect of the upper arm by lightly pressing your fingers towards the bone on the inside of the upper arm and hole them there for five seconds. PEFAP 001 4.1: Identify when to administer CPR to an unresponsive infant and a child who is not breathing normally. CPR should only be carried out when an infant or child is unresponsive and not breathing normally. If the infant or child has any signs of normal breathing, or coughing, or movement, do not begin to do chest compressions. Doing so may cause the heart to stop beating. PEFAP 001 4.3: Describe how to deal with an infant and a child who is experiencing a seizure. Witnessing a child having an epileptic seizure is a very unpleasant experience, particularly the first one. However, some young children experience what is termed a Febrile Seizure which is brought on when the child has a high temperature or infection. Recognition Stiffening of child’s body Twitching of arms and legs Loss of consciousness May wet or soil themselves May vomit or foam at the mouth Usually lasts for less than five minutes May be sleepy for up to an hour afterwards Treatment Protect them with cushioning or padding- do not hold them down. Cool them down by removing some clothing. When the seizures stop, place the child in the recovery position and monitor signs of life. If they become unresponsive or the seizure lasts for more than 5 minutes then you must call 999/112 for an ambulance. PEFAP 001 5.1: Differentiate between a mild and a severe airway obstruction. A mild airway is usually a partial obstruction, it means the entire airway is not closed off, so air is able to pass by the obstruction,  and the victim can respond and cough forcefully , or may wheeze between coughs. In a serer airway obstruction, the airway is completely blocked off and the victim cannot breathe because air cannot pass by the object. PEFAP 001 5.3: Describe the procedure to be followed after administering the treatment for choking. The child may experience difficulties after having treatment for choking-for example, a persistent cough or difficulties with swallowing or breathing. It is important to monitor and assess the child’s condition and to seek medical help if the problem persists. PEFAP 001 6.1: Describe common types of wounds. A cut (incision): This can be caused from a sharp edge, such as a tin can ,that can lead to a lot of bleeding. A torn wound (laceration): is a jagged wound that can be caused by a broken toy, a fall or collision. Graze or abrasion: cause by friction or scraping, generally happens when children fall. Bruises or contusion: is bleeding underneath the skin. The blood collects and results in a black/blue mark. Children often have bruises on their skin, chin and head from knocking themselves or falling. Soft tissue bruises should be investigated if you have a concern about them. Puncture wound: cause by the body being pierced by an object, for example , a child falling whilst carrying a pair of scissors. Velocity wound: cause by an item travelling at high speed such as a bullet from a gun. PEFAP 001 6.4: Describe how to administer first aid for minor injuries. With minor bleeding from cuts and abrasions the emphasis is on keeping the wound clean and to control any blood loss. Wear disposable gloves. Examine the injury for any embedded foreign objects. Clean the wound under fresh running water. Sit the casualty down. If they feel weak and unsteady, position them on the floor. Clean the skin around the wound with wet sterile gauze or sterile non-alcoholic wipes and carefully remove any grit or dirt. Do not remove any embedded object. Elevate the injury to control any blood loss. Dry the wound with sterile gauze and apply a plaster or sterile dressing. Advise the parent or guardian of the child or infant to seek medical attention if necessary. PEFAP 001 7.1: Describe how to recognise and manage an infant and a child who is suffering from shock. After an initial adrenaline rush, the body withdraws blood from the skin in order to maintain the vital organs – and the oxygen supply to the brain drops. The infant or child will have: Pale, cold, clammy skin that is oftern grey-blue in colour, especially around the lips A rapid pulse, becoming weaker Shallow, fast breathing. In an infant The anterior fontanelle is drawn in (depressed). In an infant or a child may show: Unusual restlessness, yawning and gasping for air Thirst Loss of consciousness The treatment is the same for an infant and a child. If possible, ask someone to call an ambulance while you stay with the child . Lay the child down, keeping her head low to improve the blood supply to the brain. Treat any obvious cause, such as severe bleeding. Raise the child’s leg and support them with pillows or on a cushion on a pile of books. Loosen any tight clothing at the neck, chest and waist to help with the child/s breathing. For an infant: hold the infant on your lap while you loosen her clothing and offer comfort and reassurance. Cover the child with a blanket or coat to keep her warm. Never use a hot-water bottle or any other direct source of heat. Reassure the child: keep talking to her and monitoring her condition while you wait for the ambulance. If the infant or child loses consciousness, open her airway, check her breathing and be prepared to give rescue breaths. Do not give the child anything to eat or drink: if she complains of thirst, just moisten her lips with water. PEFAP 001 7.2: Describe how to recognise and manage an infant and a child who is suffering from anaphylactic shock. During an anaphylactic reaction, chemicals are released into the blood that widen (dilate) blood vessels and  cause blood pressure to fall. Air passages then narrow (constrict), resulting in breathing difficulties. In addition, the tongue and throat can swell, obstructing the airway. An infant or child with anaphylactic shock will need urgent medical help as this can be fatal. The following signs and symptoms may come all at once and the child may rapidly lose consciousness: High-pitched wheezing sound Blotchy, itchy, raised rash Swollen eyelids, lips and tongue Difficulty speaking, then breathing Abdominal pain, vomiting and diarrhoea If you suspect an infant or child is suffering from anaphylactic shock, follow the steps below: Call an ambulance. If the child has had a reaction previously, she will have medication to take in case of more attacks. This should be given as soon as the attack starts, following the instructions closely. Help the child into a comfortable sitting position to relieve any breathing problems and loosen any tight clothing at her neck and waist. Comfort and reassure her while you wait for the ambulance. If the child loses consciousness, open her airway, check her breathing and be prepared to stat rescue breaths. PEFAP 001 6.2: Describe the types and severity of bleeding and the affect it has on an infant and a child. Even tiny a mounts of blood can seem like a lot to a child. Any bleeding may frighten children because they are too young to realise that the blood loss will stop when clotting occurs. When a child loses a large amount of blood, he or she may suffer shock or even become unconscious. Platelets and proteins come into contact with the injured site and plug the wound. This process begins within ten minutes if the loss of blood is brought under control. There are different types of bleeding: Bleeding from arteries : This will pump blood from the wound in time with the heartbeat and is bright re in colour. If the bleeding from a major artery will lead to shock, unresponsiveness and death within minutes. Bleeding from veins: The bold will gush from the wound or pool at the site of the wound. This will depend on the size of the vein that has been damaged. The blood will be dark red in colour due to the oxygen being depleted. Bleeding from  capillaries: Oozing at the site as with an abrasion or maybe internally from a bruising to muscle tissue and internal organs. PEFAP 001 6.3: Demonstrate the safe and effective management for the control of minor and major external bleeding. With minor bleeding from cuts and abrasions the emphasis is on keeping the wound clean and to control any blood loss. Wear disposable gloves Examine the injury for any embedded foreign objects Clean the injured area with cold water, using cotton wool or gauze Do not attempt to pick out pieces of gravel or grit from a graze. Just clean gently and cover with a light dressing if necessary Sit the child down if they feel weak and unsteady, position them on the floor. Elevate the injury to control any bold loss Record the injury and treatment in the Accident Report Book and make sure that the parents/carers of the child are in formed. When a child is bleeding severely, your main aim is to stem the flow of blood. With severe wounds and bleeding the emphasis is on controlling blood loss and treating for shock. Wear disposable gloves Sit or lay the child down on the floor to help prevent shock Examine the injury to establish the extent of the wound and to check for any foreign embedded objects Try to stop the bleeding: Apply direct pressure to the wound: use a dressing or a non-fluffy material, such as a clean tea towel Elevate the affected part if possible: if the wound is on an arm or leg, raise the injured limb above the level of the heart Apply a dressing: if the blood soaks through, do not remove the dressing, apply another on top and so on Support the injured part and treat the child for shock. Keep them warm and do not let them have anything to eat or drink Call 999/112 for an ambulance and monitor the child’s condition Contact the child’s parents or carers If the child loses consciousness, follow the ABC procedure for resuscitation Always record the incident and the treatment given in the Accident Report  Book. Always wear disposable gloves if in an early years setting, to prevent cross-infection.

The Developmental Stages of Children-Eriksons Model of Emotional, Intellectual, Physiological and Social Domains essays

The Developmental Stages of Children-Eriksons Model of Emotional, Intellectual, Physiological and Social Domains essays Rather than purely focusing on a childs sexual or neurological stages of development, like Freud and Piaget, Erik Erikson attempted to present a more holistic model for analyzing childhood development (Piagets Stages of Social-Emotional Development In Children and Teenagers,1998, Child Development Institute). Erkisons approach is uniquely helpful for educators today. Erikson describes the physical, emotional and psychological stages of development and relates specific issues, or developmental work or tasks, to each stage (Patient Teaching, Loose Leaf Library: Springhouse Corporation, 1990). Ultimately childhood education is about setting tasks-setting tasks for the student to complete to facilitate understanding, and setting tasks for the teacher to become a quality educator. Erikson called the full range of his stages eight stages of man (or human being), taking his cue from Shakespeares famous All the worlds a stage speech, which reflects the many roles and conflicts human beings engage in over the course of their individual lives. Eriksons literary bent shows that his theories were formulated, not through experimental work like Piaget, but through his wide - ranging experience in psychotherapy, including extensive experience with children and adolescents from low - as well as upper - and middle - social classes(Stages of Social-Emotional Development In Children and Teenagers,1998, Child Development Institute). Like Freud, Erikson viewed each stage of development as a crisis, but not a purely psychological or personal crisis confined to the family environment or pertaining to sexuality (Wagner, 2007). Erikson coined the term to describe these struggles as a series of psychosocial crisis points, each of which arises and demands resolution. A child may progress to the next developmental stage, but insufficient r...

Motivational Problem 3 Term Paper Example | Topics and Well Written Essays - 750 words

Motivational Problem 3 - Term Paper Example As a result productivity level has decreased significantly so much that upper management has noticed Johns inefficiency as a team leader. The above situation can be best understood by John S. Adams equity of motivation (Adams, 1965). Equity theory holds that "motivation is a function of fairness in social exchanges," (Kinicki and Kreitner 2009, p.174). The theory explains that people are made up of their beliefs and behaviors. Any perceived inconsistency in social interchange at the workplace affects their attitudes and perception towards the organization. This in turn affects their motivation level; they will be less productive and display less corporate citizenship behaviors (Kinicki and Kreitner, 2009). Johns group has developed a pervasive Asian culture of work without John being aware of it. With Jennys domineering personality, members have started to lean towards her for guidance because they consider John as an outsider of this group due to the differences in beliefs, attitudes and culture. They can relate to Jennys perception of unfairness because they belong to similar cultural backgrounds (Asians). Thus, they only engage in work when they know she is in-charge, which undermines Johns leadership within his own group. Adams explains that individual-organization exchange relationship is the key to exchange component in organizational productivity. Through inputs like skills, creativity, training, education, and experience, employees expect exchange outputs like bonuses, pay, and fringe benefits from the organization. Other outputs may not be tangible such as status symbols, recognition, and participation in decision making, job security, and job challenge. These are equally important (Kinicki and Kreitner, 2009; Adams, 1965). This explains Jennys behaviors. John and the managements insensitivity to her inputs have made her resent her superiors and in turn her relationship with the

Personal Philosophy paper Statement Example | Topics and Well Written Essays - 2250 words

Philosophy paper - Personal Statement Example However, sadly, the knowledge and the education that is being imparted in schools today is nothing but ‘ignorance’, because rather than making the students wise and happy, it is making them into robots who are hungry for ‘achievement’, ‘success’ and ‘power’. In today’s fast paced life and in hurry to reach the top, teachers have forgotten the real essence of education. Life is not about ‘power’ or ‘achievement’ but is about finding the unique purpose in life and in being happy and content. In psychologist Abraham Maslow’s words, life is about being a ‘self-actualized’ human being, i.e. achieving the highest potential that one is capable of achieving (Malsow, 1971, p.169). Today’s education system thinks that its job is complete by making students ‘qualified’ and ‘intellectuals’. However, the fact is that although educational qualification does help in achieving professional success, it is not enough to attain the complete potential in life. Hence, in my opinion, the purpose of education should be to mold the children into being wise, mature and intelligent human beings, rather than just making them ‘intellectual’ and ‘qualified’ human beings. The purpose of life has been a matter of interest for experts from different fields like psychology, philosophy, religion and spirituality. Different philosophical theories and ideas came into existence with the aim of making this world a better place to live and to help human beings attain happiness and bliss. However, as human being is not just an individual but is a part of the society, the attainment of satisfaction and happiness has become difficult for him. His actions and his behavior depend on people around him. Before taking any action, he spends a lot of time thinking about what others will say if he does it. Hence, human beings have lost touch with spontaneity and natural behavior. In an attempt to

Minigrant for integrating technology in the elementary Language Arts Essay

Minigrant for integrating technology in the elementary Language Arts classroom - Essay Example The use of computers has increased drastically in the last decade, especially in the educational field. Experts in the elementary educational field are of the opinion that trying to find out the mistakes in grammar, spelling and organization in one’s own writing is one of the best methods of learning. Introducing computers in the elementary level are highly useful in these processes. Computers increase the effectiveness of the elementary language teachers while drastically reducing their work load. In this application, an estimated budget and advantages of introducing technology in the Elementary Language Arts Class room are also briefly mentioned. Elementary school teachers play a crucial role in the development of children. Generally, children are influenced by what they experience and learn in the school which can also greatly shape their views of the world or about themselves and can be a crucial factor for their failure or success in their personal lives and work. Elementary school teachers introduce pupil to language, mathematics, social studies and science. Teachers use various tools like music, games, films, artworks, books and computers to teach basic skills. Computers can play an integral role in the Elementary Language Arts Program which â€Å"provides balanced instruction in reading and writing.† (Elementary Reading and Language Arts).

Cultural Relevance of Artwork Essay Example for Free

Cultural Relevance of Artwork Essay The very spirit of an artwork remains in the time it was created. There is no better way to appreciate art than to understand its situational context, that is, the space and time of its creation. Works of art are like photographs taken in a particular time and place. In this paper we explore the situational context of three works of art: (1) Produced in the late seventeenth century, Wedding of Mary and Joseph is Peruvian painting; (2) Pierre-Auguste Renoir’s Acrobats At The Cirque Fernando (1879) shows two young Parisian girls; and (3) Figure of a Mother Holding a Child, created in the nineteenth century by an unknown Lulua artist (See Appendix). All three pieces of art tell interesting, unique tales about their makers and the conditions of their times. What’s more, layers upon layers of human thought through different times and places of human history may be unearthed through this process of art appreciation. Our present understanding of historical societies and cultures must also influence the process of interpreting a work of art. After all, one scholar may consider a painting with the eyes of a sociologist in our time, while another may be a trained psychologist. Such designations did not exist before now. Regardless of how an artwork is interpreted and with what lens and in which frame it is looked through; works of art stay alive as we glean historical information through them. As the following section on Wedding of Mary and Joseph shows, it is possible to develop various interpretations about the time and place of an artist even if researched historical information is there to assist us in our interpretation. Wedding of Mary and Joseph Produced by an unknown artist, Wedding of Mary and Joseph is an oil painting on canvas, depicting the couple getting married before the high priest who is clothed in a â€Å"richly flower-patterned hooded mantle (â€Å"Wedding of Mary and Joseph†). † There are clergymen assisting the high priest. Joseph is carrying his staff which has flowers at the top. Moreover, both the bride and bridegroom have golden halos. Ann, the mother of Mary stands right behind the bride. By Ann’s side is a suitor of Mary who has been rejected by God’s command. The suitor is shown breaking his staff, which has not flowered like the staff of Joseph (â€Å"Wedding of Mary and Joseph†). The painting is enriched by â€Å"gold stamping,† which â€Å"unifies the composition (â€Å"Wedding of Mary and Joseph†). † There are Peruvian flowers scattered on the ground where Mary and Joseph stand. This transfers the scene of the Bible from the Holy Land to Peru (â€Å"Wedding of Mary and Joseph†). Furthermore, it describes an important movement in Peruvian art history by the name of Cusco School (Bennett). Indeed, this painting accompanies a very important period in Peruvian history. Spanish colonization had not only managed to transfer the Spanish Inquisition to the Spanish territories around the globe, but also brought European art into Peru (Bennett). The Spanish Inquisition had claimed many lives in Europe. In Peru, the Inquisition had centered on the discovery of people who were Jews by birth, but had claimed to have converted to Christianity. These people were suspected to have gone back from Catholicism to Judaism. Thus, the Peruvian Inquisition was about punishing the Jews or converted Catholics for apostasy (Lea). The Peruvian Inquisition had taken place in the seventeenth century. Seeing that the sociopolitical environment of Peru revolved around religious affairs at the time, it is not surprising that the Christian, Peruvian artists started a new art movement – the Cusco School – to create religious art in particular (Bennett). As a matter of fact, the Wedding of Mary and Joseph is a perfect example of Cusco art. The Cusco School happens to be the largest movement of art in the Peruvian art history. The movement was represented by â€Å"mestizo painters and sculptors who produced countless depictions of religious figures adorned in gold (Bennett). † The Spanish colonizers had used religious art to teach Christianity to the New World. Subsequently, the native artists of Peru had begun to meld European art with their local style and tradition (Bennett). So, while the figures of Mary and Joseph in the Peruvian painting reveal European, Christian influence on the Peruvian artist; the flowers and long tailed birds of Peru scattered on the ground show that the artist continues to love his land despite colonization. The golden halos of the bride and the bridegroom are, of course, the signature of the Cusco School. Hence, the painting, Wedding of Mary and Joseph, reveals itself as an excellent tool to understand the culture of Peru with respect to Spanish colonization. By discovering more about the conditions of the artist’s time, history of the Americas may also be studied in great depth. Moreover, this painting helps viewers to appreciate how artists are influenced by their environments and the times. Acrobats At The Cirque Fernando Produced in another place and time altogether, renowned Parisian painter, Pierre-Auguste Renoir’s Acrobats At The Cirque Fernando (1879) shows two real girls, most probably between twelve and fifteen years of age, taking turns to perform their act at the circus (Mancoff). The facial and bodily expressions of the girls and their onlookers are open to any number of interpretations. One of the young girls is carrying balls around her chest while the other is communicating with the audience as part of her act. The girl who is communicating with the audience has a questioning, innocent expression on her face. The one who is carrying balls is possibly waiting for her turn to perform. She, too, is innocent and fresh in appearance as the other. However, she seems to be dwelling on her new experiences of semi-adulthood. Perhaps she is musing on the boys in her life – the young men who admire her very much. The audience depicted in the painting, behind the bodies of the two young girls, appears to consist of men alone after all. The men appear like judges, in their black coats, giving them the semblance of uniformed officers. Only one of the men has his face visible through the painting, and the face is hard enough for the girls to display their innocence in all its glory with the assumption that the counterpart of a harsh and doubtful attitude must be softness. Although the girl carrying the balls has her back turned toward the hard faced man, she knows that she too would have to perform. The expressions of the male and the females in Renoir’s Acrobats At The Cirque Fernando are rather similar to the expressions of the two sexes depicted in many of the artist’s works of the time. The woman is seen as the adored and innocent object that performs, even though the man is hard faced, perhaps weary of the work that he performs to fend for his family day after day. The woman is the amuser, the muse, and the object of entertainment to fend for. After all, she is beautiful (Norfleet). The only beautiful facet of the man is that he is strong – in Renoir’s paintings, at least. What is more, the man is always staring at the woman in Renoir’s works. He fondles her whenever he has the chance. The woman remains faithful to him – this is depicted through the innocence on her face. If she becomes unfaithful she knows that the hard faced man would discontinue supporting her. The French word for ‘thank you’ is merci, which, if used in English, perfectly describes the attitude of the woman in late nineteenth century Paris. Although Paris was one of the first places in the west where women were generally believed to have been liberated, Renoir’s painting reveals that the women were definitely not liberated through promiscuity or debauchery. Rather, the urban Parisian women in the late nineteenth century seem to have been given permission by their men to be out and about, entertaining them, while remaining faithful to their innocence as well as their marital vows (Norfleet). As the facial expression of the young girl carrying the balls in Renoir’s Acrobats At The Cirque Fernando reveals – women understood their position in Parisian society even as they were aware that men and women are equally dependent on each other. Then again, the painting remains open to numberless sociological interpretations. Figure of a Mother Holding a Child As our analysis of Renoir’s painting shows, it is possible to understand the situational context of a painting in any number of ways. Sociologists and historians may be more interested in discovering the history of society in a block of time. If psychoanalysts were to join in, there would be various intricacies of the human mind revealed through artworks. On that note, Figure of a Mother Holding a Child is a very interesting sculpture because there are multiple ways of understanding its import. On one hand, the sculpture is a perfect depiction of the pain of starvation that the African people have been experiencing for a long time, and that nobody outside of Africa has done anything consequential about – despite the fact that the entire world discusses it. On the other hand, it represents a ritual that the Lulua tribe of the Democratic Republic of Congo had practiced for its own survival (â€Å"Figure of a Mother Holding a Child†). The sculpture is that of a skinny, African female with an infant in her arms. The woman’s head is larger than her body. The bone lines on her neck are particularly telling. Even so, the bone lines on her neck and the wrinkles on her face had actually been created by the artist to show that the Lulua peoples had used scarification to adorn their bodies (â€Å"Lulua Tribe: Democratic Republic of Congo;† â€Å"Figure of a Mother Holding a Child†). Indeed, it is scarification that adorns the woman carrying the infant. Just the same the viewer is made to feel sorry for the woman and her child because they appear extremely poor. Made with wood and copper alloy, the woman in the sculpture has bulging eyes and a â€Å"pointed base (â€Å"Figure of a Mother Holding a Child†). † According to the Brooklyn Museum, the base was most probably â€Å"thrust into a pot containing earth and various bishimba, or materials of mineral, plant, animal, or human origin endowed with protective powers (â€Å"Figure of a Mother Holding a Child†). † In actuality, the sculpture had been created for a Lulua woman who had experienced difficulties in childbirth. The Lulua people believed that it was the evil spirit which interrupted the process of childbirth for women. So that the woman would attract the ancestral spirit of the Lulua tribe and get rid of the evil spirit, the artist gave her the sculpture to care for until delivery. The bulging eyes of the sculpture reveal that the woman is aware of the influence of the evil spirit that is stopping her from becoming a mother (â€Å"Lulua Tribe†). The Lulua peoples had migrated from western Africa to the Democratic Republic of Congo during the eighteenth century. These people lived in â€Å"small regional chiefdoms,† and therefore formed closely knit communities (â€Å"Lulua Tribe†). Because they were immigrants, they were rather concerned about their continuity. Moreover, the Lulua people believed that their sculptures had to be created for religious reasons (â€Å"Lulua Tribe†). The Lulua artists who created sculptures such as the Figure of a Mother Holding a Child must have had faith that they were carrying out their moral duty toward their own people. Indeed, the religious values of the Lulua people were guarded by their art. Sculptures of females were quite popular among them, as these figures exemplified â€Å"the union of physical and moral beautify (â€Å"Figurative Sculpture†). † The Lulua people believed in equating proper behavior with physical beauty (â€Å"Figurative Sculpture†). It can be inferred that the Figure of a Mother Holding a Child and all other sculptures created for the same reason were reminders for the Lulua people that the human body cannot be separated from morality. This principle is clearly exemplified by the bond between mother and child. Conclusion We focused on the political conditions surrounding the artist of Wedding of Mary and Joseph. Societal context of Renoir’s painting, Acrobats At The Cirque Fernando, was explored with a brief overview of gender relations in 19th century Paris. This study may have been conducted with historical information gleaned through novels, too. Finally, the cultural context of Figure of a Mother Holding a Child was explored. Although this discussion was centered on political, societal and cultural contexts of three works of art, it was clarified as part of the discussion that an artwork may be appreciated in any number of ways. There are countless theories and innumerable stories about the history of mankind. What is more, every piece of artwork tells a tale about the space and time of its artist alone. The work lives on as students of art and historians delve into paintings over and again. Any number of assumptions could be made about the situational context of an artwork thus. Perhaps, therefore, it is reasonable to state that a work of art has as many minds as interpreters as the number of people that consider the artwork through the passage of time. Moreover, only assumptions can be made about the situational context of an artwork. History is best left to those that lived it. After all, we only make educated guesses about what people of the past lived through to gather useful information for our lives in the present. Works Cited Bennett, Caroline. â€Å"Art and Architecture. † Viva Travel Guides. 11 Nov 2008. http://www. vivatravelguides. com/south-america/peru/peru-overview/art-and-architecture/. â€Å"Figurative Sculpture. † Central African Art. 11 Nov 2008. http://africa. si. edu/exhibits/journey/figurative. html. â€Å"Figure of a Mother Holding a Child. † Brooklyn Museum Collections: African Art. 11 Nov 2008. http://www. brooklynmuseum. org/collections/african_art/50. 124. php. Lea, Henry C. â€Å"Inquisition in 17th Century Peru: Cases of Portuguese Judaizers. † Modern History Sourcebook. 11 Nov 2008. http://www. fordham. edu/halsall/mod/17c-lea-limainquis. html. â€Å"Lulua Tribe: Democratic Republic of Congo. † For African Art. 2006. 11 Nov 2008. http://www. forafricanart. com/Lulua_ep_56-1. html. Mancoff, Debra N. â€Å"Paintings by Pierre-Auguste Renoir. † How Stuff Works. 2008. 11 Nov 2008. http://entertainment. howstuffworks. com/paintings-by-pierre-auguste-renoir7. htm.