Poverty, Hunger, and Homelessness Research Paper

Poverty, Hunger, and Homelessness - Research Paper Example Poverty, Hunger, and Homelessness According to Nelson, the climate change is one of the roots of poverty among communities. This is because it results in hunger, droughts, and floods. Lack of shelter is a global challenge and comes from an inadequate income which does not allow people to afford the available housing. Conflicts, overpopulation, natural disasters are among the factors that lead to hunger, poverty, and homelessness in underdeveloped countries. Criteria of Poverty and Homelessness Poverty may not always refer to the lack of financial resources only. Poverty goes beyond the amount of money that one owns. Several measures that constitute the criteria for identifying poverty among people have come up. The measurement and analysis of the poverty level proves its significance for analytical, cognitive, and policy-making purposes, as well as for evaluating and monitoring purposes. Various concepts of well-being exist, and this report focuses on three of its aspects. Firstly, the poverty state where an individu al possesses inadequate resources to meet their daily needs. It is based on the comparison of individual’s income, consumption, education, and other constituents. Secondly, this report focuses on inequality in the distribution of income among the population. This argument is based on evaluating the premise that in the society individuals occupy different positions. Finally, the welfare-being evaluation of the overall level of inequality, in terms of monetary and non-monetary dimensions of the population, shows the poverty level (Coundouel 77). The World Bank estimates that in developing countries, millions of families survive on 1.25 dollar a day or less. In addition, it indicates that poverty and hunger results from poor economic and political systems in a country. The federal government uses the income threshold to establish the poverty level in a community. The Census Bureau for Statistical Purposes uses the thresholds to establish poverty. According to Coundouel (78), the government classifies people according to â€Å"their residence, ethnicity, and other demographic characteristics†. A state of homelessness is when a person does not have a permanent residence. Poverty Level in Terre Haute According to the United States Bureau of Statistics and Census, the poverty level in Terre Haute is estimated at 25.2%. Indiana ranges around 14% when compared to the national poverty level of 15%. According to Nelson (24), the poverty level in Terre Haute exceeds Indiana’s average and the national average. The Indiana’s government uses a below the poverty line as an economic benchmarking and a poverty threshold. This shows that a majority of the population lives in poverty. Homelessness Level in Terre Haute Homelessness in Terre Haute is at seven percent with Indiana’s homelessness at eleven percent. The high rate of homelessness is immensely contributed to by inadequate finances and inadequate incomes which do not allow people to aff ord building of good housing. The National Shelter Shelter rate comparison between Terre Haute and Indiana shows that Indiana rates exceed those of Terre Haute. Fifty eight percent of homeless people in America live in shelters and makeshift housing. The financial and economic crisis in America has led to the increasing rate of poverty and hunger. In 2011, over seventeen million people faced a crisis of food shortage. Arguably, the poverty level in America ranged around fifteen percent in the same year of 2011. The United

The two directors Baz Lurhman Essay Example for Free

The two directors Baz Lurhman Essay The two directors Baz Lurhman and Zefferelli both presented the style, pace, tone and mood of the two Shakespeare film in different ways. Baz Lurhman version of the pace is slow. The pace for this version is slow due to a lot of time spent on the opening scene. It focuses on telling us about the film and what its about and also the view of where it was set and not to forget it also spends time on telling us about the two sworn enemies and their characters. The mood is dark, aggressive and more dramatic because after the prologue the music hits you and the tone of voice was like a loud speaker beaten with extreme energy into the atmosphere. Whereas Zefferelli version was in the 16th century and it follows the script of Shakespeare the way it was wrote. Although the pace is fast, this could be because in the opening scene they got on with the play by using low camera angle shots. They choose to stick to the normal text draw for your sword even though its a gun. In the first scene the mood was aggressive. However In the other scenes it was tenser and calm and more romantic due to its focuses on Romeo and Juliet. Also, on the opening scene the tone was harsh and deep to start with to develop the feud between the two sworn enemies. Overall the tone is soft and sharp to build more effect on their romantic love scenes. Their way of style was addressed in a 16th century way to follow the script of Shakespeare; you could tell by the way they were dressing, who had high status and low status. Whereas the characters in Baz Lurhman wore modern clothes and more casual wear to what people would wear now because the style and play was set in the 21st century. The first version of the Prologue was presented to us with a small old television with a blacked out background. The woman voice draws your attention in with its calm tone of voice, which tells us in a news form of way what the two sworn enemies are like and also a brief information about the two lovers Romeo and Juliet. The second version of the prologue starts with a chorus which describes the two sworn enemies in the city of Verona in an aggressive form of way. It flashes us clips about the city and the impressions the viewers are giving about Verona Beach is that the place is not a safe place to be. During the flashing of clips u see a man been held down on a mattress by a police man. Every clips of it shows a gun. The city doesnt look like an Italian city it was made to look like New York. This prologue also lets us know that they catholic. The form of text they used was white text on black screen, using newspaper to show lines of the prologue. The sort of music played in this sequence was a dramatic music and orchestra music been played. Although in this prologue it was a male voice been used, the tone of voice was deep but told in bold written on a newspaper with characters pictures on it. The third version of the prologue is presented very far and the sorts of expression shown on the face of the Capulet parents were sad and also were the Montague parents. The expression shown on Mercutio face was him feeling or ready to kill someone. In this sequences the two important characters were not shown this could be due to their innocents and both of them not seen each other as enemies. However Zefferelli version didnt have a prologue the director just shows us a high angle short of the Italian city and market, then shows the characters with a low angle short then you hear their voices. Images of violence and the characters are seen as gangsters. The presentation of the feud between the two families are you could see by the facial expressions that they dont like or agree with one another. Capulet ask for a fight then one of the Montague men was forced to draw for his sword then the fight gets more serious and fights develops with pushing, shoving among peasants, then they ring the big bell to inform the others that theres a big fight then people get more involved. Sword fighting, rocks thrown above, vegetables thrown and wrestling to the floor. Tybalts character in the Zefferelli is betrayed as the leader of the gang. You see him without shot of his feet and moving up to his face with his gang behind him in a triangle formation which shows that is an important character. His also aggressive and hard hearted doesnt have any pity for no one apart from themselves. Hes also very mocking, likes making fun and gesture of people. Whereas on the Baz Lurhman, his betrayed as a arrogant man and a low angle screen shot to show us his Cuban hill shoes in a cowboy form of way but metal and big. Then the camera shows his clothes with a western music on the background which links to what his wearing. A leather jacket used to let us viewer know his religious because inside the jacket theirs a big image of Jesus on the inner clothe he was wearing. In my point of view I think his vain and fashionable. His character is showing has confident, arrogant and sharp, you can tell by the way he holds his gun. He holds it in a calm and cool way, knows that his in control and a well known leader and a very good sharpshooter. Once is sword is drawn its something to be feared of. The way he also walks is cool calm and collected. The presentation of the two versions is both equally dramatic even though Zefferelli fight scene shows more chaos and bloodshed. But they both show the anger between both families clearly. The directors expectation is trying to capture young viewer especially student, trying to bring Shakespeare to life. In conclusion I would rather watch Baz Lurhman due to his understanding of kids. He knew what kids of now days like so he made it spectacular, sexy and fashionable. Tim Adesunloro Mrs Hulbert.

Role-play area increase childrens oral language

Role-play area increase childrens oral language My interest for this research stemmed from my passion for drama and my belief that it can enhance childrens learning experience. However, within the research school, teachers planned collaboratively and the use of drama did not suit lessons planned. This led to a developing interest in childrens play within the role-play area and the potential it had in enabling children to acquire language. The potential of the role-play corner is supported by Sylva et al (1980) who believe that the richest conversations within the Foundation classroom occur within the home corner. During my research I found that I strongly agreed with Moyles (2005) opinion that play is not employed within the primary classroom despite recommendations that this should be the case due to the range of potential it provides. Before changes were made to the role-play area during the research I felt that children were not using the area to its full potential and the research carried out aimed to resolve this by encouraging teachers to use this area in enhancing childrens learning. Therefore, the research carried out aimed to show the important role the role-play area plays within primary education and enabling children to acquire oral language. The study further aims to bring to light elements within the role-play area that will enhance childrens experience within the role-play area and ensure they are engaging with new vocabulary. The study was based in a large school with 300 children on roll and 30 teaching staff in Oxfordshire. The research was carried out in a mixed Year 1 and 2 class which consisted of 30 children for a period of five weeks. The following chapter aims to explore previous research within the areas of language acquisition and how the role-play area can enhance childrens language acquisition. Literature Review 2.1 Looking at language acquisition Language acquisition occurs as children learn a language and outlines the stages they progress through to achieve speech (Clark 2009). The first stage looks at sounds, words, meanings and construction which moves onto knowing when and where to use language and incorporating it into everyday life (Clark 2009). There are three main theories that look at how children acquire their language skills and at what age this starts to develop. The Behaviourist view states that children develop language skills through imitating their parents and later reinforce these skills (Eyres 2007). Nativists believe that children find language to be instinctual as children often hear incomplete sentences as they grow up and impose structures they have overheard on their own speech (Eyres 2007). Chomsky (cited in Wilson 2008) believes that children have a Language Acquisition Device that refers to an area of the brain which allows for children to learn and use language from a young age. Chomsky agrees with the Nativist theory in that children make use of rules they overhear in adult speech within the first few years of life and therefore their ideas on language structures constantly change and adapt to suit a more mature view of language grammar (Wilson 2008). The third theory about language acquisition is that of Interactionalists. They argue that children learn from the community around them and that babies start to pick up conventions of communication and their learning is developed through encouragement by adults, lending their support and interpreting sounds (Eyres 2007). However, other research suggests that infants are pushed to learn a language in order to share meaning and communicate with those around them and relationships with their carers engages them in a world of a specific language (Whitehead 2007). Brumfit (1984) states that there is a lot of research that was carried out on acquiring language but it is important to note that it is impossible to be able to isolate childrens language experiences from processes of interaction in their early years. Wells (1979) stands out for researching language acquisition and examines how adults support and assist children in their conversations by expanding on their contribution. Although this research is dated, the significance it still holds in this area should be noted as it the theories are commented on and developed by Wilson (2008) who states that Wells research suggests that children benefit mostly from one-to-one discussions with adults about topics that concern and interest them and the quantity of language experience children have is crucial to their language development. Vygotsky and Bruner (cited in Wilson 2008) believe that adults and older children play an important role in aiding young childrens language development. They further argue that children need first-hand experience with language through small group or one-to-one interactions with adults and engaging in talk about shared experiences and talking for a variety of purposes (Wilson 2008). Goodwin (2005) believes that speaking and listening opportunities are essential aspects within the Early Years and this is clearly shown throughout the strands of the Early Years Foundation Stage Curriculum (DCSF 2008). Sylva et al (1980) argue that the richest conversations within Foundation classrooms occur in the home corner. Moyles (2005) believes that although play has mainly been used as a teaching strategy in the Early Years, recommendations have been made about implementing it into Key Stage One and Two classrooms due to the worth it holds for a wider age range. Some schools and teachers have taken this advice and set up a transitional classroom which integrates the Early Years approach with traditional classroom practice (Harris 2003). 2.2 Using the role-play area to develop childrens oral language acquisition Children require first-hand experiences of language when acquiring language through experiences with their peers and adults in different situations (Vygotsky and Bruner cited in Wilson 2008). Goodwin (2005) writes that watching through watching their peers, children can observe different models of language which they can implement on their own. Although this research relates to the opportunity to critically observe drama performances, it lends itself to the idea of children experiencing new language through their peers. During pretend play, children use their real life and imaginary experiences as a basis for their language and learning, while starting at their own level (Moyles 1989). This is further supported by McArthur (1983) who believes experiences within language classrooms should relate to real-life situations that occur beyond the classroom walls. The use of pretend play within the role play area further develops language use as it encourages expressive speech to occur as objects may take on a different role during play and these ideas need to be made clear to all participants of play (Marjanovic-Umek and Lesnik-Musek 2001). Experiences within the role play area further provide meaningful contexts for children by letting them use language in ways they can identify, respond and learn from as they become active and interactive users of language (Clipson-Boyles 1998). Within the role-play area this often occurs through children pretending to be adults and this enables them to experience situations from a new perspective (Clipson-Boyles 1998). When children take on these roles they often imitate adult speech patterns (Tassoni and Husker 2005) and this argument is further developed by Andersen (1990) who states that adult language features can be clearly identified when children start to imitate adults around them. Through this experience children assimilate new vocabulary through portraying different roles (Tassoni and Husker 2005), as well as developing the social skills required to play these roles (Clipson-Boyles 1998). Due to this, teachers need to ensure children are introduced to new situations and Bedrova and Leong (2003) further argue that as childrens repertoire of roles begins to grow they acquire a wide range of vocabulary to suit each role and therefore it is essential that children are encouraged to play different roles. When entering new contexts and situations, new and different demands are made on language use and therefore new language can be used and developed effectively (Byron 1986). Furthermore, it is important that children are introduced to new settings and experiences in order to engage them with high-level play (Bedrova and Leong 2003). However, it is important to note that children often revert to playing family roles, even within a new area, as they are familiar and comfortable with these roles (Bedrova and Leong 2003). When children are introduced to a new theme within the role-play area, they engage with and use new vocabulary which would be appropriate for the theme and situation they are acting out (Bedrova and Leong (2003). Bedrova and Leong (2003) believe that when children use new words within their play it shows that the children understand the meaning of the words they are using and are able to master the vocabulary within the meaningful context of play. While children are practicing their language and discussing the play they will engage in, the teacher should step in to prompt children to use the vocabulary they have learnt (Bedrova and Leong 2003) Teachers may create stimulating and exciting role-play areas that contain a variety of quality resources however, when a role-play area is kept the same for several weeks childrens experiences are unlikely to be move the child forward past free and directed play modes (Moyles 1989). Due to this children should be aware that the time they spend within the role-play area is limited (Clipson-Boyles 1998). When introducing a new and exciting role-play area there should be some opportunity for free-play to occur before teacher direction is implemented to provide children with a direction to explore other dimensions and extend their learning (Moyles 1989). However, Bedrova and Leong (2003) believe that teacher intervention should occur before children access the role-play area in order to raise the level of play occurring within the classroom. Talk is an essential element within play as children use it constantly, either when talking to themselves, others and even toys and playthings (Moyles 1989). Although the use of role-play is beneficial, the quality of learning that occurs is limited by the quality of the resources available to children (Clipson-Boyles 1998). Bodrova and Leong (2003) concur with this statement and believe the use of a variety of props and objects provide children with the best opportunities to practice their language. Moyles (1989) further develops this argument by stating that if play is structured by the materials and resources that have been made available the quality of play occurring will be dependent on the quality, quantity and variety of resources being provided. However, Martin and Dombey (2002) argue that the quality and richness of play language arises from children managing tensions when creating a play world, the storylines and multiple identities they create as they strive to have their voice heard. Therefore, teachers should look at childrens language while they are in role and out of role (Martin and Bombey 2002). The practical element of play within the role-play area aids the development of language acquisition as play provides intense motivation for young children to learn while they play (Chambers 1999) while also allowing children the option of either repeating or varying the language being used (Cook 2000). Therefore the role-play area provides children with a wealth of opportunities to develop language through play (Tassoni and Hicker 2005). However, a crucial element in using the role play area in developing language is the important role the teacher plays in recognising and valuing the play which occurs within the role play area while ensuring children know they are accountable for their learning and their actions within the role play area (Clipson-Boyles 1998). Methodology Chapter The research to answer the question Does the increased use of the role-play area increase childrens oral language acquisition? was based in a large school with 300 children on roll and 30 teaching staff in Oxfordshire. The research was carried out in a mixed Year 1 and 2 class which consisted of 30 children for a period of five weeks. In order to explore and answer the question Does the increased use of the role-play area increase childrens oral language acquisition? a case study approach was taken. A case study is ideal for allowing one aspect of a problem to be examined and explored in some depth (Bell 2010). It also provides an accurate and detailed account of events, feeling and views given by real people in a real situation (Basit 2010) which is achieved in relation to this question through the use of interviews, observations and questionnaires. Due to the nature of the question, the methods used collected both qualitative and quantitative data. Quantitative data is represented with numbers and provide the reader with explicit information (Denscombe 2003). In contrast, qualitative data encompasses several research methods as there is a written or oral outcome that is later interpreted (Denscombe 2003). The use of both quantitative and qualitative data reinforced the reliability and validity of the information gathered, as the accuracy of the findings increases through the implementation of different methods of investigation (Denscombe 2003) Due to the case study element of the question, as well as the benefits of collecting both qualitative data and quantitative data, the research methods of unstructured group interviews, participant observation and questionnaires were chosen. The use of a method such as document scrutiny would not have been appropriate for the research as the question was more concerned with oral language skills rather than childrens written skills. Interviews were used during the study as they were easy to adapt and allowed for the interviewer to follow up on ideas and answers which could be further developed and clarified (Bell 2010). The use of unstructured interviews allowed the interviewee to develop their own thoughts as the process was started by introducing a theme or topic from which the researcher developed their ideas (Denscombe 2003). The use of interviews suited the question as it recorded childrens views and feelings in regards to changes implemented within their classroom. These interviews were be carried out informally (Basit 2020) and created a deeper understanding of individuals ideas (Denscombe 2003). Group interviews operated at the level of those participating (Denscombe 2003). The main purpose of group interviews was for the participants to interact and respond to what the others were saying and the interviewee took a step back and tended to moderate the discussion (Bell 2010). However, the use of group interviews can be difficult, especially in scheduling when it can take place and controlling the amount of people that may be talking at once (Denscombe 2003). A limitation to group interviews is that quieter people tend to be forgotten as the more confident members take charge of the group and the answers (Denscombe 2003). Another factor that needs to be considered is that people may provide answers with are deemed as acceptable within the group and not disclose their true opinions (Denscombe 2003). Despite this, the use of group interviews allowed for the collection of opinions from children of different abilities and therefore showed how the changes affected children of diffe rent abilities. Interviews allowed for valuable insight to be gained into how the changes, which were implemented, affected childrens language acquisition. Due to the positive arguments above, and the opportunity to gain an understanding of childrens feelings and ideas towards the changes, ensured interviews were ideal for carrying out research. However, it was important to realise that the children participating may have answered questions as they felt obliged to answer, rather than how they truly felt. Further to this, on different days, children may be experiencing different emotions and this may have affected their answers during the interview. Participant observation was used during the research as this method relies on the idea that the participants being observed are unaware and act to what happens in the normal way (Denscombe 2003). This type of observation normally occurs when the observer is within the setting on a regular basis to improve their practice (Basit 2010) and was employed due to the researchers regular presence within the classroom this research method was adopted. Participant observation allowed for the researcher to note that childrens natural responses and actions within the role-play area. It further lent itself as children a method which collected unbiased data due to the researcher refraining from interfering with the participants. However, it is important to note that despite the researcher aiming to remain unobtrusive (Denscombe 2003) children may still be aware they are being watched. Questionnaires were used as a method of gathering information from other teachers who employed the role-play area within their classrooms. Questionnaires need to be carefully planned and the way in which the information gathered and interpreted needs to be considered (Basit 2010). The answers given, through the use of questionnaires, can be easily divided into opinions and facts and it is important that the researcher is able to distinguish between both views (Basit 2010). Despite this, questionnaires were used as they can offer insight into what teachers think. This allowed for information from an outside source to be collected and further validated the information collected. The questioners employ the Likert scale which asks participants to comment on how much they agree with a statement (Bell 2010) which allows for quantitative results to be collected. However, iti is important to note that answers to questionnaires can not be clarified and the researcher needs to rely on what has been written on paper (Bell 2010). Despite this, the use of a questionnaire allowed for opinions of teachers to be noted and some questionnaires were written on by the participants to further explain and give reasons for their answers. However, when filling out questionnaires the participants may provide answers they believe the researcher wants to collect rather than noting what they truly think. By using three different methods, triangulation of data occurred. This meant that different aspects were examined and the complexity of human behaviour was taken into account (Cohen at al 2000). It also reinforced the validity of the research collected as the same issue was examined from different angles (Basit 2010) through the implementation of different research methods. The methods used in the research were able to complement each other and support the findings produced but also offered some differences as the different methods were suited towards different purposes (Denscombe 2003). Triangulation further allowed for findings to be cross-checked which validated the results collected within the research (Bell 2010). Before the research was undertaken, the ethical aspects were considered and examined closely, appendix 1 (page xy). Cohen et al (2000) state that social scientists have a responsibility not only to their profession in its search for knowledge and truth, but also for the subjects they depend on for their work. Therefore, it was important the children were aware that they were being observed throughout the case study and actions were taken to consider any ethical implications. Data set Content Quantity/Quality Recording Method Unstructured group interviews The group interviews consist of six participants (one from each ability group within their separate year groups) The interviews lasted 10-20 minutes and occurred before and after changes were implemented. In total, two interviews were held with the children. Tape recorders were used when interviewing six children. Interviews were then transcribed and pplaced within the appendices (appendix 6 and 7). Participant Observation The role-play area was observed for one hour a week for five weeks. The children within the role-play area were not selected and the focus of the observation was the language being used. In total, five observations occurred. Notes made while observing the role-play area once a week. Notes written on post-it notes at all times to note use of new vocabulary used etc and then typed onto the computer and placed in the appendices (appendix 8) Teacher Questionnaires Four teachers filled out a questionnaire which asked for their opinion in how best to aid childrens language acquisition. In total, one questionnaire was filled out. Questionnaire handed out and filled in independently then handed back to researcher. These were then collected and placed into the appendix (appendix 2,3,4 and 5) Results Table 1: Questionnaire Results Question Results 1. Do you think the role-play area helps children learn and become familiar with language? Yes 100% 2. How effective is the role-play area in allowing children to develop their language? 4 66% 5 33% 3. Do you set up an area specifically to encourage children to practice and extend their learning and therefore engage in topic-specific vocabulary? Yes 100% 4. With the role-play area currently set up have you noticed children using topic related vocabulary? Yes 100% 5. If yes, how frequently is this language used? 3 33% 4 33% 5 33% 6. Are the children able to use the language correctly and in an appropriate context? Yes 66% When modeled 33% 7. For future topics, would you think about ensuring the role-play area allows for topic specific vocabulary to be used (especially in terms of science vocabulary). Yes 100% 8. How might you ensure that this is achieved? Key vocabulary displayed, teacher modeling, Sharing experiences with class, interactive resources Table 2: Interview One Results Question Key responses 1. How do you think the school room helps you learn? Lets children know more about emergency vehicle and traditional stories through questions and for others and answering questions on the wall 2. So what do you do when you were in the school room? Puppets are used to re-tell or create stories, children learnt about emergency vehicles and traditional tales but did not mention how 3. Do you use the questions on the wall to help you? No as the questions are too easy 4. Some of the questions on the wall are about traditional tales but some are about emergency vehicles. Does that confuse you? Yes as children were confused about what each question referred too 5. What kinds of words do you use? Do you use new words, words that you learnt from the stories? Or do you just talk like you normally would? Children used phrases such as The end, Once upon a time and The middle One child mentioned using adjectives 6. So what could the teachers have done to help you learn more in the school room? Teachers could have provided the correct answers so children could share and inform each other 7. So what could I change then in the school room? Questions could be trickier, could have provided more resources for the emergency vehicle section Table 3: Interview Two Results Question Key responses 1. What do you do when youre in the electricity shop? Children make circuits and discussed some of the circuits they made. One child discussed how she drew the circuit using symbols and then made it 2. How do you think the electricity shop has helped you learn? Children know how to make and draw symbols 3. So, in the electricity shop, do you look at the questions? Yes because they helped their learning and know more about electricity. No because they are not important. 4. How helpful was it to have the batteries, wires and light bulbs? Good so children could build circuits and learn independently 5. Did you find having all the electricity stuff helped you with your language? Did you use lots of words about electricity? Not really as they could have drawn them instead. Yes as you need a battery, wire and bulb to make a circuit. 6. Do you think you speak differently in the electricians shop than in the rest of the classroom? More electricity related words are used such as mains electricity, insulated wire, power stations, electricity pylons and electrocuted 7. What helped you to use all the electricity words? Anything special in the electricians shop that helped you? The questions helped, the equipment helped and the pictures that were available Table 4: Observation results Observation 1: 17/2/2011 Observation 2 : 3/3/2011 Children did not stay on task and therefore did not use new language Drawings of stories, however, story not told Child commented on light being dimmer and brighter Children talked about the parts they were using to make a circuit Children discuss breaks within a circuit Child predicted brightness of a bulb from a drawing Children use new vocabulary effectively and regularly Observation 3: 10/3/2011 Observation 4: 17/3/2011 Child discusses how some equipment uses mains electricity and the use of a switch Children discuss how crocodile clips work One child discusses how he melds lights with his father Two children discuss solar power and how most electricity comes from a power plant Children further discuss how pylon wires are insulated Children discuss why a light may not be working as the crocodile clip does not clip on the bulb holder Two children discuss how the electricity in the bulb gives off heat The dangers of electricity are mentioned and how one child could be electrocuted as he put a circuit around his neck The purpose of a switch is mentioned. One child links the word circle with circuit in describing electric flow Observation 5: 14/3/2011 Child discusses how the electricity is moving through the circuit Circuit is being made and when the bulb does not light a child mentions that a battery must be broken Child mentions she saw a traffic light being fixed and that the electricity was stopped so the electrician was not electrocuted

The Genre of The Tempest Essay -- Papers

The Genre of The Tempest The Tempest is customarily identified as the William Shakespeare's last piece. These marginal issues aside, The Tempest is the forth, final and finest of Shakespeare's great and/or late romances. Along with Pericles, Cymbeline and The Winters Tale, The Tempest belongs t the genre of Elizabethan romance plays. It combines elements of Tragedy (Prospero's revenge/Loss of a royal son) with those of romantic comedy (the young lover Ferdinand and Miranda) and, like one of Shakespeare's problem plays, Measure for measure, it poses deeper questions that are not completely resolved at the end. The romantic gesture is distinguished by the inclusion (and synthesis) of these tragic, comic, and problematic ingredients, and further marked by a happy ending(usually concluding in a masque or dance) in which all, or most, of the characters are brought into harmony. The term romance is given to the comedies written at the end of Shakespeare's career. Pericles, Cymbeline, The Winters Tale and the Tempest. They were written between 1608 and 1612 and are different in style to his earlier comedies. Whilst love and marriage are they key themes in these plays, they focus primarily on the separations and reunions of families and culminate in homecomings, reconciliation's, rebirth and redemption. The romances are, characteristically, set in mythical worlds, and include elements from myths and fairy tales. For example: Long journey, Sea journeys, shipwrecks, storms, magic, lost or stolen children, a wicked/evil family member. The romances were heavily influenced by court masques, lavish entertainment consisting of song , dance,... ...so be seen to embody regeneration and spiritual development, for through his magic he brings about the repentance of Antonio and Alonso, and the marriage which is to achieve the regeneration. Through Prospero also, the disparate styles are united. He is the symbolic figure in which the tragic events are rooted, for he is both victim of revenge tragedy and the hero who suffered from a fatal flaw. So too is he the instigator of the play's romance. With his magic wand we find he has caused the shipwreck of the first act, which initially seemed to be rooted in realism. The mixture of styles in both plays are, then, successfully combined. They work together to produce a unified whole; separately and collectively combing to 'exert [an] energy' which enhances and balances the moral message of Shakespeare's last plays.

The Lost Symbol Chapter 107-109

CHAPTER 107 The stone table felt cold beneath Katherine Solomon's back. Horrifying images of Robert's death continued to swirl through her mind, along with thoughts of her brother. Is Peter dead, too? The strange knife on the nearby table kept bringing flashes of what might lie in store for her as well. Is this really the end? Oddly, her thoughts turned abruptly to her research . . . to Noetic Science . . . and to her recent breakthroughs. All of it lost . . . up in smoke. She would never be able to share with the world everything she had learned. Her most shocking discovery had taken place only a few months ago, and the results had the potential to redefine the way humans thought about death. Strangely, thinking now of that experiment . . . was bringing her an unexpected solace. As a young girl, Katherine Solomon had often wondered if there was life after death. Does heaven exist? What happens when we die? As she grew older, her studies in science quickly erased any fanciful notions of heaven, hell, or the afterlife. The concept of â€Å"life after death,† she came to accept, was a human construct . . . a fairy tale designed to soften the horrifying truth that was our mortality. Or so I believed . . . A year ago, Katherine and her brother had been discussing one of philosophy's most enduring questions–the existence of the human soul–specifically the issue of whether or not humans possessed some kind of consciousness capable of survival outside of the body. They both sensed that such a human soul probably did exist. Most ancient philosophies concurred. Buddhist and Brahminical wisdom endorsed metempsychosis–the transmigration of the soul into a new body after death; Platonists defined the body as a â€Å"prison† from which the soul escaped; and the Stoics called the soul apospasma tou theu–â€Å"a particle of God†Ã¢â‚¬â€œand believed it was recalled by God upon death. The existence of the human soul, Katherine noted with some frustration, was probably a concept that would never be scientifically proven. Confirming that a consciousness survived outside the human body after death was akin to exhaling a puff of smoke and hoping to find it years later. After their discussion, Katherine had a strange notion. Her brother had mentioned the Book of Genesis and its description of the soul as Neshemah–a kind of spiritual â€Å"intelligence† that was separate from the body. It occurred to Katherine that the word intelligence suggested the presence of thought. Noetic Science clearly suggested that thoughts had mass, and so it stood to reason, then, that the human soul might therefore also have mass. Can I weigh a human soul? The notion was impossible, of course . . . foolish even to ponder. It was three days later that Katherine suddenly woke up from a dead sleep and sat bolt upright in bed. She jumped up, drove to her lab, and immediately began work designing an experiment that was both startlingly simple . . . and frighteningly bold. She had no idea if it would work, and she decided not to tell Peter about her idea until her work was complete. It took four months, but finally Katherine brought her brother into the lab. She wheeled out a large piece of gear that she had been keeping hidden in the back storage room. â€Å"I designed and built it myself,† she said, showing Peter her invention. â€Å"Any guesses?† Her brother stared at the strange machine. â€Å"An incubator?† Katherine laughed and shook her head, although it was a reasonable guess. The machine did look a bit like the transparent incubators for premature babies one saw in hospitals. This machine, however, was adult size–a long, airtight, clear plastic capsule, like some kind of futuristic sleeping pod. It sat atop a large piece of electronic gear. â€Å"See if this helps you guess,† Katherine said, plugging the contraption into a power source. A digital display lit up on the machine, its numbers jumping around as she carefully calibrated some dials. When she was done, the display read: 0.0000000000 kg â€Å"A scale?† Peter asked, looking puzzled. â€Å"Not just any scale.† Katherine took a tiny scrap of paper off a nearby counter and laid it gently on top of the capsule. The numbers on the display jumped around again and then settled on a new reading. .0008194325 kg â€Å"High-precision microbalance,† she said. â€Å"Resolution down to a few micrograms.† Peter still looked puzzled. â€Å"You built a precise scale for . . . a person?† â€Å"Exactly.† She lifted the transparent lid on the machine. â€Å"If I place a person inside this capsule and close the lid, the individual is in an entirely sealed system. Nothing gets in or out. No gas, no liquid, no dust particles. Nothing can escape–not the person's breath exhalations, evaporating sweat, body fluids, nothing.† Peter ran a hand through his thick head of silver hair, a nervous mannerism shared by Katherine. â€Å"Hmm . . . obviously a person would die in there pretty quickly.† She nodded. â€Å"Six minutes or so, depending on their breathing rate.† He turned to her. â€Å"I don't get it.† She smiled. â€Å"You will.† Leaving the machine behind, Katherine led Peter into the Cube's control room and sat him down in front of the plasma wall. She began typing and accessed a series of video files stored on the holographic drives. When the plasma wall flickered to life, the image before them looked like home-video footage. The camera panned across a modest bedroom with an unmade bed, medication bottles, a respirator, and a heart monitor. Peter looked baffled as the camera kept panning and finally revealed, near the center of the bedroom, Katherine's scale contraption. Peter's eyes widened. â€Å"What the . . . ?† The capsule's transparent lid was open, and a very old man in an oxygen mask lay inside. His elderly wife and a hospice worker stood beside the pod. The man's breathing was labored, and his eyes were closed. â€Å"The man in the capsule was a science teacher of mine at Yale,† Katherine said. â€Å"He and I have kept in touch over the years. He's been very ill. He always said he wanted to donate his body to science, so when I explained my idea for this experiment, he immediately wanted to be a part of it.† Peter was apparently mute with shock as he stared at the scene unfolding before them. The hospice worker now turned to the man's wife. â€Å"It's time. He's ready.† The old woman dabbed her tearful eyes and nodded with a resolute calm. â€Å"Okay.† Very gently, the hospice worker reached into the pod and removed the man's oxygen mask. The man stirred slightly, but his eyes remained closed. Now the worker wheeled the respirator and other equipment off to the side, leaving the old man in the capsule totally isolated in the center of the room. The dying man's wife now approached the pod, leaned down, and gently kissed her husband's forehead. The old man did not open his eyes, but his lips moved, ever so slightly, into a faint, loving smile. Without his oxygen mask, the man's breathing was quickly becoming more labored. The end was obviously near. With an admirable strength and calm, the man's wife slowly lowered the transparent lid of the capsule and sealed it shut, exactly as Katherine had taught her. Peter recoiled in alarm. â€Å"Katherine, what in the name of God?!† â€Å"It's okay,† Katherine whispered. â€Å"There's plenty of air in the capsule.† She had seen this video dozens of times now, but it still made her pulse race. She pointed to the scale beneath the dying man's sealed pod. The digital numbers read: 51.4534644 kg â€Å"That's his body weight,† Katherine said. The old man's breathing became more shallow, and Peter inched forward, transfixed. â€Å"This is what he wanted,† Katherine whispered. â€Å"Watch what happens.† The man's wife had stepped back and was now seated on the bed, silently looking on with the hospice worker. Over the course of the next sixty seconds, the man's shallow breathing grew faster, until all at once, as if the man himself had chosen the moment, he simply took his last breath. Everything stopped. It was over. The wife and hospice worker quietly comforted each other. Nothing else happened. After a few seconds, Peter glanced over at Katherine in apparent confusion. Wait for it, she thought, redirecting Peter's gaze to the capsule's digital display, which still quietly glowed, showing the dead man's weight. Then it happened. When Peter saw it, he jolted backward, almost falling out of his chair. â€Å"But . . . that's . . .† He covered his mouth in shock. â€Å"I can't . . .† It was seldom that the great Peter Solomon was speechless. Katherine's reaction had been similar the first few times she saw what had happened. Moments after the man's death, the numbers on the scale had decreased suddenly. The man had become lighter immediately after his death. The weight change was minuscule, but it was measurable . . . and the implications were utterly mind-boggling. Katherine recalled writing in her lab notes with a trembling hand: â€Å"There seems to exist an invisible `material' that exits the human body at the moment of death. It has quantifiable mass which is unimpeded by physical barriers. I must assume it moves in a dimension I cannot yet perceive.† From the expression of shock on her brother's face, Katherine knew he understood the implications. â€Å"Katherine . . .† he stammered, blinking his gray eyes as if to make sure he was not dreaming. â€Å"I think you just weighed the human soul.† There was a long silence between them. Katherine sensed that her brother was attempting to process all the stark and wondrous ramifications. It will take time. If what they had just witnessed was indeed what it seemed to be–that is, evidence that a soul or consciousness or life force could move outside the realm of the body–then a startling new light had just been shed on countless mystical questions: transmigration, cosmic consciousness, near-death experiences, astral projection, remote viewing, lucid dreaming, and on and on. Medical journals were filled with stories of patients who had died on the operating table, viewed their bodies from above, and then been brought back to life. Peter was silent, and Katherine now saw he had tears in his eyes. She understood. She had cried, too. Peter and Katherine had lost loved ones, and for anyone in that position, the faintest hint of the human spirit continuing after death brought a glimmer of hope. He's thinking of Zachary, Katherine thought, recognizing the deep melancholy in her brother's eyes. For years Peter had carried the burden of responsibility for his son's death. He had told Katherine many times that leaving Zachary in prison had been the worst mistake of his life, and that he would never find a way to forgive himself. A slamming door drew Katherine's attention, and suddenly she was back in the basement, lying on a cold stone table. The metal door at the top of the ramp had closed loudly, and the tattooed man was coming back down. She could hear him entering one of the rooms down the hall, doing something inside, and then continuing along the hall toward the room she was in. As he entered, she could see that he was pushing something in front of him. Something heavy . . . on wheels. As he stepped into the light, she stared in disbelief. The tattooed man was pushing a person in a wheelchair. Intellectually, Katherine's brain recognized the man in the chair. Emotionally, her mind could barely accept what she was looking at. Peter? She didn't know whether to be overjoyed that her brother was alive . . . or utterly horrified. Peter's body had been shaved smooth. His mane of thick silver hair was all gone, as were his eyebrows, and his smooth skin glistened as if it had been oiled. He wore a black silk gown. Where his right hand should have been, he had only a stump, wrapped in a clean, fresh bandage. Her brother's pain-laden eyes reached out to hers, filled with regret and sorrow. â€Å"Peter!† Her voice cracked. Her brother tried to speak but made only muffled, guttural noises. Katherine now realized he was bound to the wheelchair and had been gagged. The tattooed man reached down and gently stroked Peter's shaved scalp. â€Å"I've prepared your brother for a great honor. He has a role to play tonight.† Katherine's entire body went rigid. No . . . â€Å"Peter and I will be leaving in a moment, but I thought you'd want to say good-bye.† â€Å"Where are you taking him?† she said weakly. He smiled. â€Å"Peter and I must journey to the sacred mountain. That is where the treasure lies. The Masonic Pyramid has revealed the location. Your friend Robert Langdon was most helpful.† Katherine looked into her brother's eyes. â€Å"He killed . . . Robert.† Her brother's expression contorted in agony, and he shook his head violently, as if unable to bear any more pain. â€Å"Now, now, Peter,† the man said, again stroking Peter's scalp. â€Å"Don't let this ruin the moment. Say good-bye to your little sister. This is your final family reunion.† Katherine felt her mind welling with desperation. â€Å"Why are you doing this?!† she shouted at him. â€Å"What have we ever done to you?! Why do you hate my family so much?!† The tattooed man came over and placed his mouth right next to her ear. â€Å"I have my reasons, Katherine.† Then he walked to the side table and picked up the strange knife. He brought it over to her and ran the burnished blade across her cheek. â€Å"This is arguably the most famous knife in history.† Katherine knew of no famous knives, but it looked foreboding and ancient. The blade felt razor sharp. â€Å"Don't worry,† he said. â€Å"I have no intention of wasting its power on you. I'm saving it for a more worthy sacrifice . . . in a more sacred place.† He turned to her brother. â€Å"Peter, you recognize this knife, don't you?† Her brother's eyes were wide with a mixture of fear and disbelief. â€Å"Yes, Peter, this ancient artifact still exists. I obtained it at great expense . . . and I have been saving it for you. At long last, you and I can end our painful journey together.† With that, he wrapped the knife carefully in a cloth with all of his other items–incense, vials of liquid, white satin cloths, and other ceremonial objects. He then placed the wrapped items inside Robert Langdon's leather bag along with the Masonic Pyramid and capstone. Katherine looked on helplessly as the man zipped up Langdon's daybag and turned to her brother. â€Å"Carry this, Peter, would you?† He set the heavy bag on Peter's lap. Next, the man walked over to a drawer and began rooting around. She could hear small metal objects clinking. When he returned, he took her right arm, steadying it. Katherine couldn't see what he was doing, but Peter apparently could, and he again started bucking wildly. Katherine felt a sudden, sharp pinch in the crook of her right elbow, and an eerie warmth ran down around it. Peter was making anguished, strangled sounds and trying in vain to get out of the heavy chair. Katherine felt a cold numbness spreading through her forearm and fingertips below the elbow. When the man stepped aside, Katherine saw why her brother was so horrified. The tattooed man had inserted a medical needle into her vein, as if she were giving blood. The needle, however, was not attached to a tube. Instead, her blood was now flowing freely out of it . . . running down her elbow, forearm, and onto the stone table. â€Å"A human hourglass,† the man said, turning to Peter. â€Å"In a short while, when I ask you to play your role, I want you to picture Katherine . . . dying alone here in the dark.† Peter's expression was one of total torment. â€Å"She will stay alive,† the man said, â€Å"for about an hour or so. If you cooperate with me quickly, I will have enough time to save her. Of course, if you resist me at all . . . your sister will die here alone in the dark.† Peter bellowed unintelligibly through his gag. â€Å"I know, I know,† the tattooed man said, placing a hand on Peter's shoulder, â€Å"this is hard for you. But it shouldn't be. After all, this is not the first time you will abandon a family member.† He paused, bending over and whispering in Peter's ear. â€Å"I'm thinking, of course, of your son, Zachary, in Soganlik prison.† Peter pulled against his restraints and let out another muffled scream through the cloth in his mouth. â€Å"Stop it!† Katherine shouted. â€Å"I remember that night well,† the man taunted as he finished packing. â€Å"I heard the whole thing. The warden offered to let your son go, but you chose to teach Zachary a lesson . . . by abandoning him. Your boy learned his lesson, all right, didn't he?† The man smiled. â€Å"His loss . . . was my gain.† The man now retrieved a linen cloth and stuffed it deep into Katherine's mouth. â€Å"Death,† he whispered to her, â€Å"should be a quiet thing.† Peter struggled violently. Without another word, the tattooed man slowly backed Peter's wheelchair out of the room, giving Peter a long, last look at his sister. Katherine and Peter locked eyes one final time. Then he was gone. Katherine could hear them going up the ramp and through the metal door. As they exited, she heard the tattooed man lock the metal door behind him and continue on through the painting of the Three Graces. A few minutes later, she heard a car start. Then the mansion fell silent. All alone in the dark, Katherine lay bleeding. CHAPTER 108 Robert Langdon's mind hovered in an endless abyss. No light. No sound. No feeling. Only an infinite and silent void. Softness. Weightlessness. His body had released him. He was untethered. The physical world had ceased to exist. Time had ceased to exist. He was pure consciousness now . . . a fleshless sentience suspended in the emptiness of a vast universe. CHAPTER 109 The modified UH-60 skimmed in low over the expansive rooftops of Kalorama Heights, thundering toward the coordinates given to them by the support team. Agent Simkins was the first to spot the black Escalade parked haphazardly on a lawn in front of one of the mansions. The driveway gate was closed, and the house was dark and quiet. Sato gave the signal to touch down. The aircraft landed hard on the front lawn amid several other vehicles . . . one of them a security sedan with a bubble light on top. Simkins and his team jumped out, drew their weapons, and dashed up onto the porch. Finding the front door locked, Simkins cupped his hands and peered through a window. The foyer was dark, but Simkins could make out the faint shadow of a body on the floor. â€Å"Shit,† he whispered. â€Å"It's Hartmann.† One of his agents grabbed a chair off the porch and heaved it through the bay window. The sound of shattering glass was barely audible over the roar of the helicopter behind them. Seconds later, they were all inside. Simkins rushed to the foyer and knelt over Hartmann to check his pulse. Nothing. There was blood everywhere. Then he saw the screwdriver in Hartmann's throat. Jesus. He stood up and motioned to his men to begin a full search. The agents fanned out across the first floor, their laser sights probing the darkness of the luxurious house. They found nothing in the living room or study, but in the dining room, to their surprise, they discovered a strangled female security guard. Simkins was fast losing hope that Robert Langdon and Katherine Solomon were alive. This brutal killer clearly had set a trap, and if he had managed to kill a CIA agent and an armed security guard, then it seemed a professor and a scientist had no chance. Once the first floor was secure, Simkins sent two agents to search upstairs. Meanwhile, he found a set of basement stairs off the kitchen and descended. At the bottom of the stairs, he threw on the lights. The basement was spacious and spotless, as if it were hardly ever used. Boilers, bare cement walls, a few boxes. Nothing here at all. Simkins headed back up to the kitchen just as his men were coming down from the second floor. Everyone shook their heads. The house was deserted. No one home. And no more bodies. Simkins radioed Sato with the all-clear and the grim update. When he got to the foyer, Sato was already climbing the stairs onto the porch. Warren Bellamy was visible behind her, sitting dazed and alone in the helicopter with Sato's titanium briefcase at his feet. The OS director's secure laptop provided her with worldwide access to CIA computer systems via encrypted satellite uplinks. Earlier tonight, she had used this computer to share with Bellamy some kind of information that had stunned the man into cooperating fully. Simkins had no idea what Bellamy had seen, but whatever it was, the Architect had been visibly shell- shocked ever since. As Sato entered the foyer, she paused a moment, bowing her head over Hartmann's body. A moment later, she raised her eyes and fixed them on Simkins. â€Å"No sign of Langdon or Katherine? Or Peter Solomon?† Simkins shook his head. â€Å"If they're still alive, he took them with him.† â€Å"Did you see a computer in the house?† â€Å"Yes, ma'am. In the office.† â€Å"Show me.† Simkins led Sato out of the foyer and into the living room. The plush carpet was covered with broken glass from the shattered bay window. They walked past a fireplace, a large painting, and several bookshelves to an office door. The office was wood paneled, with an antique desk and a large computer monitor. Sato walked around behind the desk and eyed the screen, immediately scowling. â€Å"Damn it,† she said under her breath. Simkins circled around and looked at the screen. It was blank. â€Å"What's wrong?† Sato pointed to an empty docking station on the desk. â€Å"He uses a laptop. He took it with him.† Simkins didn't follow. â€Å"Does he have information you want to see?† â€Å"No,† Sato replied, her tone grave. â€Å"He has information I want nobody to see.† Downstairs in the hidden basement, Katherine Solomon had heard the sounds of helicopter blades followed by breaking glass and heavy boots on the floor above her. She tried to cry out for help, but the gag in her mouth made it impossible. She could barely make a sound. The harder she tried, the faster the blood began flowing from her elbow. She was feeling short of breath and a little dizzy. Katherine knew she needed to calm down. Use your mind, Katherine. With all of her intention, she coaxed herself into a meditative state. Robert Langdon's mind floated through the emptiness of space. He peered into the infinite void, searching for any points of reference. He found nothing. Total darkness. Total silence. Total peace. There was not even the pull of gravity to tell him which way was up. His body was gone. This must be death. Time seemed to be telescoping, stretching and compressing, as if it had no bearings in this place. He had lost all track of how much time had passed. Ten seconds? Ten minutes? Ten days? Suddenly, however, like distant fiery explosions in far-off galaxies, memories began to materialize, billowing toward Langdon like shock waves across a vast nothingness. All at once, Robert Langdon began to remember. The images tore through him . . . vivid and disturbing. He was staring up at a face that was covered with tattoos. A pair of powerful hands lifted his head and smashed it into the floor. Pain erupted . . . and then darkness. Gray light. Throbbing. Wisps of memory. Langdon was being dragged, half conscious, down, down, down. His captor was chanting something. Verbum significatium . . . Verbum omnificum . . . Verbum perdo . . .

Contribution Durkheim Bullet Points

Contribution of Emile Durkheim (bullet points) Religion Durkheim believed that god concept is collective creation and power that is used by groups to direct the behaviour of its members. The basic principles of religion and rituals is to keep solidarity in the society especially in the periods of conflict. Function of religion is not to worship the god but the society. Within division of labour Durkheim made clear distinction between mechanical and organic solidarity. Mechanical solidarity is characterised in traditional societies with simple division of labour. Individuals are highly constrained by the values, norms and regulation of the society. When member deviates from this norms he might be most probably rejected by the group. Individualism is not supported ad degrees of freedom are few. Organic solidarity is common for contemporary societies where there is higher differentiation of labour. Differentiation of labour is happening in relation to population density. More and more people are living in same area with similar activities. Tension is rising, and the only way to overcome these tensions is to have more specialised activities. Division of labour develops in relation to population density. Individuals are having their own specialities and are mutually dependent. Differentiated societies are creating unique individual. Individual has personal opinion, religion, freedom†¦. and there is clear line between them and society (private problems and public concerns). The division of labour is not making only marked exchange relationship but the feeling of solidarity. Social solidarity consists of integration of individuals and regulation. Social solidarity is social fact that can be observed only by external indicators, like the law. Law tends to be repressive and restitutive. Conformity in mechanic society is held by repressive system, while conformity in organic societies is held by restituitive force. Two abnormal situations in organic societies is anomie and egoism. Suicide He explained suicide in terms of the degree to which a person is joined into social life. At the low end of social unity, there is anomic suicide, in which people destroy themselves because social bonds die and life becomes meaningless to them. Then when people are tightly integrated and there is a threat to the social group, people may sacrifice themselves in order to protect the group. Anomic suicide also proved that suicide increases as society falls apart.