Women and Culture in the West Research Paper Example | Topics and Well Written Essays - 1500 words

Women and Culture in the West - Research Paper Example nce, mathematics, history, philosophy, Latin, Italian, French, Greek and German unlike the majority who preferred the girl child doing worsted work and practicing quadrilles. Their education was his responsibility (Aler, 2008). All these teachings resulted to Florence being intelligent and well educated which in some way shaped her to the nurse she came to be. Since Florence came from a wealthy background she was not expected to work. Her mother most of all deemed it best if she was to get married some day because she assumed that was her destiny. It was after a long emotional battle that tutors were eventually allowed to teach Florence mathematics over home duties. She was taught a number of subjects such as algebra, geometry and arithmetic’s. During her leisure time, Florence spent it tutoring children on this particular topics thus in the process enhancing her knowledge and having a wider scope on mathematics. She enjoyed being of service to others (Aler, 2008). Unlike these present times where people are strongly campaigning for the girl child to have a decent education and a lead a decent life where they are able to fend for themselves and be independent there was once upon a time an era where the English girls had little or no education at all, this was during the nineteenth century. Boys had an advantage over girls in the sense that parents were more willing to take them to private schools and pay more since there was no system of free schools until the 1880s. Girls of all ages had a disadvantage in relation to boys of the same age and level because of the depravity of education knowledge. Governesses taught the girls of the upper –class since they did not go to school at all but the funny part is that these very governesses who are supposed to be the source of enlightenment had no formal training. The objective of this strategy of the upper-class being taught at home was to alienate them from the lower classes as well as to keep them away from the

Vilademir propp and how his functions are related with hitchcocks two Essay

Vilademir propp and how his functions are related with hitchcocks two films that are north by northwest and spellbound - Essay Example He was responsible for multiple changes that have been experienced in literature, and especially in narratives (Hale 2009). Today, Vladimir’s ideas are still used in narrative plots, and most importantly, his ideas are more applicable to narratives. However, these today have been applied in the film and cinema industry. Different film theorists have equally studied on narrative structure and this is in conformity with Propp’s work (Bellour & Penley 2000). In this essay, I will address Propp’s findings in Morphology of Folk Tale, their contribution to the narrative theory of film, and how they relate with Hitchcock’s films â€Å"North by Northwest† and â€Å"Spellbound.† Propp in his Morphology of Folk Tale comes up a total of eight roles of the characters, and thirty-one functions of narratives, also called narratemes, which mainly defined the structure of the narratives. He was convicted that these narrative functions were existent in the classical fairy tale narrative (Hale 2009). The eight character roles, which Propp identified in his book, include The Helper, The Villain, The Donor, The False Hero, The Dispatcher, The Hero, The Princess, and her father. The functions of narratives by Propp exhibit more flexibility than the character roles. Propp made a categorization of these narrative functions to include six major groups, which are in coherence with the flow of the narrative. These include Struggle, Complication, Preparation, Recognition, Transference, and Return. The folk tales of different regions of the world are interconnected in one way or another, bearing a great deal of similarities in their themes. Hence, the Morphology of the folk t ale by Propp is not only applicable in Russian folk tales, but also to the folk tales of other different world regions (Propp 1928). Propp’s work has been credited for

The Selfish Giant By Oscar Wilde

The Selfish Giant By Oscar Wilde The story, The Selfish Giant by Oscar Wilde, was introduced in the taught module, demonstrated the kind of art and drama activities that a powerful story can stimulate and engage the audience meaningfully. The scheme of work emphasised on the childrens creativity, imagination and involvement in dramatising. The plot of the story was introduced by imagining a big garden, free for all children to play and have fun in. Participants were then engaged in creating play space and activities in the garden. Ample time was given to explore the garden. The story continued with the giant coming back from a long vacation and did something drastic- the sign No Children Allowed was placed outside the garden. This was followed by a series of brainstorming on the reason for the giant to reject the children. To appease the giant, ideas of gifts and presents were suggested. Instead of receiving these gifts with gladness, the giant reacted strongly. The following will indicate two art disciplines as wel l as the responses of children as they participate in this dramatisation and art. Principles and Approaches Instead of the usual approach of storytelling, a key principle of drama is to allow children to perform (Winston and Tandy, 2009) and be part of it. Children can be engaged in different characters, in different scenarios, performing individually or collectively, in a less rigidly defined (Winston and Tandy, 2009, p. 5) space and character. Through the drama conducted in a class setting, children can explore the different parts of the garden alone or with their friends, staying in their play space or exploring others, accompanied with encouragement and positive comments from the teacher. Dramas are platforms for children to adapt and perform real life scenarios and behaviours of characters. They assimilated the children in the story to be themselves in real life, doing the things they often do and behaving as they would. Transferring fiction to real life, it reflects more securely upon issues which have significant effects upon our daily lives. (Winston and Tandy, 2009, p.3). The selfish giant depicted the adults in real life, and the children having the mindset that they are being controlled by them. The childrens good intention of bringing gifts to the giant was unappreciated. The issues raised up and behaviours observed are hardly mentioned or elaborated through storytelling. Dramatisation brings about a different dynamics for issues to surface and discussed upon. The play space for children to dramatise is the classroom. Instead of the everyday function of the classroom, it transformed into a dramatic space, representing the garden, the house, the place to prepare gifts. As Winston and Tandy, 2009, p. 4 states, through play, children learn to manipulate the core elements of drama. The rules of time, space and identity was suspended (Winston and Tandy, 2009), and drama time became elastic. The ticking of a few minutes was equivalent to a span of a few years with the mention that the giant came back after a long vacation. The other key principle is setting a common stage for all children to understand and abide by the rules. The rules can be informed explicitly or agreed upon implicitly. For the drama to succeed and driven towards achieving common purposes, both teachers and children must be clear and agree in following the rules, which are not binding nor restrictive (Winston and Tandy, 2009). The indication to end the time playing in the garden was clearly brought across when the teacher sits on the chair. This is a new approach apart from the usual clapping of hands, gathering or attention through calling out. As Winston, 2009, p. 5 clearly puts it, its success will depend upon the children knowing what is expected of them and appreciating the rewards that come from doing it well, the rewards inherent to the experience of genuine engagement in a dramatic event (Winston and Tandy, 2009, p. 5) Many children enjoy drama because it has a playful element in it. When people die, nobody actually dies; when someone feels hurt, nobody is actually hurt. Children are able to distinguish the difference between the scenes that happen in a daily routine and the conventions of play, understanding and accepting the boundaries (Winston and Tandy, 2009). For example, in a real life setting, it is rather unlikely for someone to throw or destroy gifts. However, in the dramatisation, when the giant received presents, instead of being thankful, he tore and smashed them. The children found it all amusing and know that it was not for real. Thus, drama and play comes hand in hand, it is their innate capacity for play†¦.., the understandings they gain from participating†¦., that dramatic activity can be constructed. (Winston and Tandy, 2009,p. 3). Also echoed by Swanwick, 1988,p 41, play soon becomes imaginative and subjects things to the childs activity. Evaluation of results In a usual classroom setting, children are kept seated on the floor for a period of time, with little movement emphasised and usually, driving towards an academic approach. Children were all getting ready and one child was wondering aloud why the teacher was without a story book. The story began with a big garden that all children can play in. This garden belongs to the giant and it was empty. Children were encouraged to imagine one thing they would like to have in this garden and imitate the movement of it. If a child would like to have a swimming pool in the garden, he can reach forward with his arms and swim. With this, children are transferring the things they are experiencing in real life into play and drama. Many children were able to make correct guesses of their friends actions. With rules of noise level and space, children were clear of the boundaries and limitations in order to achieve a common goal. Exploration in the garden ended when the teacher sat on the chair. Every child was given the opportunity to share about their favourite activity. As the story proceeded, the children were puzzled to know that the garden was out of bounds. They were praised for their good behaviour and maintenance of the garden and equipment and none of them broke any rules. They were eager to find out what made the giant angry and the preparations of gifts were suggested. Many of them had suggestions and they were divided into groups to prepare it. They were given scrap materials to create the present they had in mind. Without any direction from the teacher, they put their ideas at work and each produced their gifts. With all enthusiasm that the giant would be pleased upon receiving, they were wrong. Such twist in the story thrilled the children as it differs from the structured and kept them in suspense about the end of the story. During the interview with the giant, the children shifted from one dimension that the teacher is the narrator to the teacher as the giant. In the interview, the giant voiced his unhappiness that children are noisy, they always cry, they do not wash their hands after using the toilet, they are liars etc.. The childrens strong objection caused a child to come forward and hit the giant. Such behaviour is inappropriate in a classroom setting and children will get disciplined for it. For the child to do that, he was fully engrossed into the story and responded appropriately. The story ended and it was toileting time. One child came out of the toilet showing the teacher that he washed his hands. This child actually remembered the reason the giant gave for not allowing any children in. He identified himself as the children in the story and the teacher as the giant. This response from the child shows that dramatisation is a form of education and should be included in the curriculum. Instead of having to remind them about the washing of their hands, a play through this story works it all well. Conclusion As much as acknowledging and understanding the benefits of having drama in the curriculum, there post a great constraint- time. For drama to take place and for it to deepen and develop further, time is usually the hindering factor. Thus, it takes pedagogist of each act. In conclusion, as Winston and Tandy, 2009, p.58 states, drama gives these stories a form and shape which can make them engaging, thought provoking and exciting for the children who are part of it†¦.

Ecuador Essay -- essays research papers

  Ã‚  Ã‚  Ã‚  Ã‚  Ecuador is one of the smallest countries of South America. It lies on the West Coast of the continent between Colombia and Peru. The equator crosses Ecuador and gives the country its name. Ecuador is the Spanish word for equator.   Ã‚  Ã‚  Ã‚  Ã‚  The Andes Mountains rise through much of central Ecuador. About half the people live in the valleys and on the plateaus of the Andes. Quito, Ecuador's capital, lies more than 9,000 feet (2,700 meters) above sea level on an Andean plateau. A flat, partly forested, tropical plain extends west of the Andes along the Pacific Ocean. This coastal plain is developing faster than any other part of the country. About half the Ecuadorian people live there. During the middle and late 1900's, many people moved to the coastal plain to farm its rich soil. Others moved to the coastal city of Guayaquil to find jobs. Guayaquil is Ecuador's largest city. It is also the country's leading commercial center and chief seaport. East of the Andes Mountains is a large jungle.   Ã‚  Ã‚  Ã‚  Ã‚  Ecuador has had more than 15 constitutions since it gained independence from Spain. Most of these constitutions provided for an elected legislature, but in many elections few of Ecuador's people have been allowed to vote. Strong leaders have suspended or replaced many of the country's constitutions in order to stay in office or to increase their power. Most of Ecuador's rulers have been military leaders or hav...

History of Hippies and the Counter Culture Movement Essay

The origin of the word â€Å"hippie† derives from â€Å"hipster† which was first coined by Harry Gibson in 1940 in a song titled â€Å"Harry the Hipster† (as Harry referred to himself). Hipsters were beatniks who had moved into New York City’s Greenwich Village. Beatniks were followers of the Beat Generation literary movement who through their writings, promoted anti-conformist attitudes and ideals. The first clearly used instance of the term â€Å"hippie† occurred on September 5, 1965 in the article â€Å"A New Haven for Beatniks† by San Francisco journalist Michael Fallon (who was writing about the Blue Unicorn coffeehouse). Similar counter culture movements had occurred in Germany between 1896 and 1908. Known as Wandervogel (which translates roughly to â€Å"migratory bird†), the youth movement arose as a countercultural reaction to the urbanization that was occurring in Germany at the time. Wandervogel youth opposed traditional German values and forms of entertainment and instead emphasized amateur music and singing, creative dress, and communal outings involving hiking and camping. They were a back to the earth generation who yearned for the simple, sparse, back to nature spiritual life of their ancestors. In later years, the Wandervogel Germans immigrated to the United States where they opened many West Coast area health food stores. Many moved to Southern California. Over time other Americans adapted the beliefs and practices of the Wandervogel youth. Songwriter Eden Ahbez wrote a hit song called Nature Boy that was inspired by the Wandervogel follower, Robert Bootzin. The song helped popularized health consciousness, yoga, and organic food throughout the United States.

Firearms at a Crime Scene Essay

After a firearm has been photographed at the scene, it will be necessary to be rendered safe. An automatic pistol will require its magazine to be removed and the round extracted from the chamber. When removing the magazine it will need to be handled carefully in order to preserve potential fingerprint evidence and be placed in a paper or plastic evidence bag. The round from the chamber should be placed in a plastic vial or paper envelope. A revolver will need to have the rounds taken from the chambers within the cylinder. The chamber that is on top and in line with the barrel will need to be marked. The cylinder and chambers should be sketched and assigned numbers. As the rounds are removed from the chambers, they need to be placed in individual plastic vials or paper envelopes with a corresponding chamber number indicated. Regardless of type, automatic or revolver, each firearm will need to have an identification tag affixed to its trigger guard. The identification tag needs to contain the hammer position, caliber, make, model and serial number of the firearm, the investigators name, date, time, and location of collection. An additional identifier can be scratched on to the firearm, in an inconspicuous location, and in a manner that will not damage potential evidence. If the firearm was recovered from under the water’s surface, it will need to be cleared as mentioned previously, pertinent details recorded, and placed in an evidence container that will allow it to remain covered in the same water that it was found. The firearm should not be cleaned or allowed to dry. The rounds recovered from either type of weapon will need to be packaged individually, preferably in plastic vials or paper envelopes. Each vial or envelop will need to be accompanied by the following information: date, time and location of recovery, caliber, and investigators name. If a bullet is found at the scene it should be handled carefully in order to protect the striation marks. Bullets should not be pulled out of materials that they are lodged in; the surrounding materials should be broken or chiseled away. The bullet should be marked either on the point or the base, wrapped in tissue paper, placed in a plastic vial or envelope, and the afore mentioned information attached to the applicable evidence container. Spent shell casings, if found, should be picked up with tweezers or forceps, marked with an identifier near the mouth of the casing, packaged individually in plastic vials or envelopes, and be accompanied by the previously mentioned pertinent information. It is imperative that the chain of custody reflects the change of possession when any item is handed over to a laboratory or testing facility.