Women’s Self-Discovery During Late American Romanticism / Early Realism

When we think of women writers today we see successful, gifted and talented women. Although these women writers have been established for former(prenominal) their status of contributions to society has only been recognized way too late. During the late romantic/early realism period numerous women found success in writing despite the fact that they may have encountered numerous obstacles in their path. The characters these women wrote about almost have a kinship with themselves bringing out plastered personality traits non seen written about women before. From these traits a voice emerges in literature that has been hidden from the public view. This new true voice of female self-discovery eventually comes out for the public to see in numerous works of that day. Courage, independence and emotional portrayal are the pivotal key traits that make up their self-discovery in the works of numerous female writers such as Gilman, Freeman, Woolson, and Chopin. These women writers were writing in the day where women were taught to maintain their place in society and family. After the Civil state of war the homosocial world of womens culture began to dissolve as women demanded entrance to higher education, the professions, and the political world (Showalter 67). The roles of housewife and society maiden that were created by society did not allow for any room of expression by these women. The lack of women who at this time were seeking a higher education or pursuing the humanistic discipline was very small. If they did not come from a family who supported them in their quest than most likely they did not get the chance to pursue their dreams. If a charr did want to extend their learning most of the time they did it in secrecy. A woman artist... ...kins. The Yellow Wallpaper. The Norton Anthology of American Literature, Shorter Sixth Edition. Ed. Nina Baym. Kahane, Claire. Passions of the Voice. Baltimore The John Hopkins Unive rsity Press, 1995. Leitch, Vincent B., ed. The Norton Anthology, Theory and Criticism. New York W. W. Norton & Company, 2001. Showalter, Elaine. babes Choice. New York Oxford University Press, 1991. Toth, Emily. Introduction. A Vocation and a Voice. By Kate Chopin. New York Penguin Book, 1991. vii-xxvi. Toth, Emily. Unveiling Kate Chopin. Jackson, Mississippi University Press of Mississippi, 1999. Treichler, Paula A. Language and Ambiguity. The Awakening, A Norton Critical Edition. Ed. Margo Culley. Woolsen, Constance Fenimore. Miss Grief. The Norton Anthology of American Literature, Shorter Sixth Edition. Ed. Nina Baym.

If you dont know where you are, you are no where :: Response Essays

Topic A former president of the National geographical Society once said, If you dont know where you are, you are no where. Do you agree or disagree?I agree because I find that this quote is true. deal who live day by day doing nothing, whether if its hanging outside with fri stopping points in the street during school hours or late hours of the night, or attending school honourable for attendance, but sitting in class wasting time, going to body of work and not even doing a good job or the full work it requires are examples of people who are in comfort zones, a place where you are stuck in denial. Ill explain it for better understanding of what I mean.What if youre someone who doesnt expression much peer pressure and, in fact, doesnt feel much pressure to do anything at all? It can be just as bad, however, to go far in the other direction and become a total slug. You see, we also live in denial when we fail to admit to ourselves that we are not living up to our potential and are not creating something significant for our lives, so it is a bit similar when saying that if you dont know know where you are, you are no where because if you cant see what you are doing, you wont succeed. What I mean is that you stop reaching for a higher level of achievement and accomplishment and pretend that your life is okay. You get up, rinse your happy hair, throw on some clothes, drag yourself out of your house, and go through the motions of your day. You think youre comfortable, but youre not as happy as you could be. Youre in what I call a comfort zone and you pretend that its okay, so you accomlish nothing to take you to higher goals, to make you go somewhere in life, and you end up going no where, and when you look back at everything youve been doing for so long, you dont feel so good about it as the way you thought you would because you baffle nothing to show for it, especially if you really dont know where you are going in life because life only rewards action and those who know what they want and cave in goals to achieve are going to get somewhere.Another point I would like to make about this

Is There Life After Baby? Essay -- Personal Narrative Writing

Is There Life After Baby?During the last few years, my look consisted of frequent outings to movie theatres, days spent fishing, Saturday night dancing, fine dining, and many other activities. On July 18th, 2004, my son, Andrew Martin, was born. He is the first child born to my married woman and myself. Moments after(prenominal) his birth, I became very aware that my life was about to change significantly, just as many people had informed me during my wifes pregnancy. In the five and a fractional short workweeks he has been on this planet, it has become keenly aware to me that many changes are to come, any(prenominal) good, some great, and some bad.Virtually each and every week during my wifes pregnancy, at least one person told me how much my life was about to change. This was non a complete shock to me, as I did have some idea that my life would be different once my child came. The extent to which it has changed and will change, however, have been a bit of a surprise. My wife and I were married on April 25, 1998. Prior to our meeting, I frequented WPLJs dance club in Walnut Creek almost every Friday and Saturday night. That is where I met her. On Saturday and/or Sunday afternoons, I could almost always be found viewing a first run movie in either the Pleasant Hill, Walnut Creek, Concord, or Berkeley areas. If not at the movies on Saturday, I was quite often reeling in a fish at Lafayette Reservoir. Approximately two meals a day were purchased at a restaurant or fast food facility. Marriage did not have a significant change on any of these favorite activities of mine, the only excommunication being that the number of meals purchased outside of the home decreased to about five times a week.My son Andrew is six weeks old today. He has changed the lives of my wif... ...him up to campaign to his needs.. He even has his own people who come to see him or who call to ask about him, such as Grandma Loretta or Uncle Carlos. My wife and myself were never this popular You can be told many things about parenthood by many people, you can read numerous books about raising a child, you can even baby-sit anothers child, but until youve had your own child, you have no idea of what you are in store for. My son has completely disrupted my life. He has turned it upside down. Honestly, I wouldnt have it any other way He is a complete joy. Every time I pick him up and hold him or look into his beautiful blue eyes, I know that I am going to love him till the day I die. I look forward to his three siblings that my wife and I plan on having. Most parents would agree with me a child leads to a tie of sacrifices and is a lot of work, but well worth it

Achieving Visibility in Ralph Ellison’s Invisible Man :: Ralph Ellison, Invisible Man

Ralph Ellisons Invisible Man, as told by the invisible world himself, is the account of a mans quest to recess his beliefs and values from those existence pressed upon him. The vote counter never gives his name in the story, which is shown later to have great significance. The narrator is a well-educated black man who has been kicked out of his college, and lied to by the school officials. While wandering around Harlem searching for some air of closure, he encounters a black couple, unjustly evicted from their home. A crowd has gathered, also upset by the injustice, and seems to be ready to riot. Instead, the narrator speaks to them, and they rush the house systematically. This is his prototypic true display of independent thinking and challenge in the story. He speaks his honest feelings to a crowd, and is backed by them. The narrators actions, however, dont remain so uninhibited throughout the story. The narrator is later approached by a representative of a group called th e Brotherhood, who wish for the narrator to join them as a black leader. In the beginning his ideas be respected, but in time his superiors order him to follow their instructions, placing aside his own ideas and feelings. For a while, the narrator regresses from his independence, merely content following orders. He comes to realize, however, that he is being stifled by the Brotherhood, desiring free action once again. The narrators impart suddenly conflicts with the will of the Brotherhood. The Brotherhood essentially wants to act more pacifistically, fetching a less dangerous approach to the raging will of the black people. Rather than rectifying the changed Brotherhood, the narrator decides to demoralize it from the inside. His actions doing this once again represent those of a strong-minded individual, rather than his previous conformist following. The effect on the Brotherhood is shown when many of their members begin to leave, empowered instantaneously to stand against t he corrupted Brotherhood. The end result is a huge riot in the streets of Harlem, between different affiliations, races, and communities. The narrator, along with his briefcase containing items of his past, is chased into a sewer during the riot. He looks through his items and realizes he has been deceived and made some unforesightful choices in the past. He burns the items, saying goodbye to his past and embracing a new inclination to understand himself, as well as his backside in the world.Achieving Visibility in Ralph Ellisons Invisible Man Ralph Ellison, Invisible ManRalph Ellisons Invisible Man, as told by the invisible man himself, is the story of a mans quest to separate his beliefs and values from those being pressed upon him. The narrator never gives his name in the story, which is shown later to have great significance. The narrator is a well-educated black man who has been kicked out of his college, and lied to by the school officials. While wandering around Harlem searching for some sort of closure, he encounters a black couple, unjustly evicted from their home. A crowd has gathered, also upset by the injustice, and seems to be ready to riot. Instead, the narrator speaks to them, and they rush the house systematically. This is his first true display of independent thinking and action in the story. He speaks his honest feelings to a crowd, and is backed by them. The narrators actions, however, dont remain so uninhibited throughout the story. The narrator is later approached by a representative of a group called the Brotherhood, who wish for the narrator to join them as a black leader. In the beginning his ideas are respected, but in time his superiors order him to follow their instructions, placing aside his own ideas and feelings. For a while, the narrator regresses from his independence, simply content following orders. He comes to realize, however, that he is being stifled by the Brotherhood, desiring free action once again. The narrators w ill suddenly conflicts with the will of the Brotherhood. The Brotherhood essentially wants to act more pacifistically, taking a less dangerous approach to the raging will of the black people. Rather than rectifying the changed Brotherhood, the narrator decides to sabotage it from the inside. His actions doing this once again represent those of a strong-willed individual, rather than his previous conformist following. The effect on the Brotherhood is shown when many of their members begin to leave, empowered now to stand against the corrupted Brotherhood. The end result is a huge riot in the streets of Harlem, between different affiliations, races, and communities. The narrator, along with his briefcase containing items of his past, is chased into a sewer during the riot. He looks through his items and realizes he has been deceived and made some poor choices in the past. He burns the items, saying goodbye to his past and embracing a new desire to understand himself, as well as his pl ace in the world.

Censoring the Pages of Knowledge Essay -- Books Literature Essays

Censoring the Pages of KnowledgeImagine a world where you could not read or own any books. How would you feel if you had someone go up your house because you have books hidden within the walls? One of the most prevalent themes in Ray Bradburys novel Fahrenheit 451 is the idea of censorship. In Bradburys fictional world, owning books is illegal. A firemans job is not putting come on fires standardised one may assume. In Fahrenheit 451, a fireman has the job of starting fires. Firefighters start fires in homes containing books. If this were reality, there would be no homes to live in. Books have become an integral part of American life. However, the theme of censorship is still relevant in American life. Censorship is enforced in an interesting way in Fahrenheit 451. Normally if someone was asked about the manipulations of firemen, they would respond, firemen are people who put out fires. The role of firemen in Fahrenheit 451 is completely different. Firemen are the enforcers of th e censorship laws. They are called upon when a person is known to have books in their house. The opening line of Bradburys novel is, It was a pleasure to burn (3). Firemen seemed to enjoy their status as book burners. Many even got an adrenaline rush out of burning books. Guy Montag, the protagonist and main(prenominal) character of the novel was a fireman who once felt starting the fires in peoples homes was thrilling. In describing Montags actions during one particular fire, Bradbury writes, He wanted above all, like the old joke to shove a marshmallow on a stick in the furnace, while the flapping pigeon-winged books died on the porch and lawn of the house (3). This quote demonstrates the mentality of the firemen and the prospect of the government. Books are evil in t... ...in restrictions are needed. Pornography should not be available to children. I do not have a problem with maternal(p) advisory labels on music. However, putting a ban on all books is a very scary propositio n. Bradburys novel does not come close to describing how inadequate this world would become. Everybody in this world depends on books whether or not they are literate. It can be said that we get most of our morals and values from books. These morals are found in books such as the Bible, Aesops Fables, and sometimes even the trashy romance novels that women tend to love. Without books, the world could be explained in one word, educated. An uninformed world is a miserable world full of fighting and conflict. An uneducated world is a world at constant war. A world with out books is a dystopian world. Bradbury, Ray. Fahrenheit 451. New York Ballantine Books, 1953.

MARY FLANNERY OCONNOR :: essays research papers

MARY FLANNERY OCONNOR Flannery OConnor was a Southern writer especially noted for 32 incisive short stories before a tragic death at the age of 39. Mary Flannery OConnor was born March 25, 1925 in Savannah, Georgia, the only child of Francis and Regina OConnor. The family lived on Lafayette Square at 207 East Charlton Street in Savannah, adjacent to the cathedral of St. John the Baptist, where Mary Flannery was baptized into the Catholic faith on April 12, 1925. She attended school at St. Vincents grammar school, taught by the Sisters of Mercy from Ireland. She received national media attention at the age of five when she trained a chicken to walk backwards. The summers were often spent visiting her becomes family, the Clines, in Milledgeville, Georgia. Because of financial difficulties with his real estate business, her father, who had developed health problems as well, took a federal job in Atlanta in 1938, when Mary Flannery was 13. However, settling in Atlanta proved difficul t for the family, and Mary Flannery and her mother Regina Cline OConnor moved to the mothers family home in Milledgeville in fall of the same year. Her fathers health continued to decline, and it was not until shortly before his death on February 1, 1941 that he was diagnosed with general lupus erythematosis, the same disease that would claim Flannery. Following graduation from Peabody High School and the Georgia State College for Women in Milledgeville, she began attending the State University of Iowa, where she began her writing career and introduced herself as Flannery. While in Iowa City, she attended Mass daily at St. Marys Church throughout her life, she remained true to her Catholic faith. During graduate school, her short story The Geranium was accepted for publication by Accent in 1946. She submitted her thesis in 1947, entitled The Geranium a Collection of Six Short Stories, and received her Masters of Fine Arts degree on June 1, 1947. Flannery OConnors writings offer de ep insight on the fallen nature of mankind through original sin, but redemption through the grace of deliveryman Christ. Flannery OConnors first novel, Wise Blood, create in 1952, achieved only a modest reception. However, she received critical acclaim and popular success with the 1955 publication of A nigh Man is Hard to Find, a collection of 10 short stories, the first story bearing the same name. A second novel, The Violent Bear it Away, was published in 1960.

MARY FLANNERY OCONNOR :: essays research papers

MARY FLANNERY OCONNOR Flannery OConnor was a Southern writer especially noted for 32 incisive compendious stories before a tragic death at the age of 39. Mary Flannery OConnor was born March 25, 1925 in Savannah, Georgia, the only child of Francis and Regina OConnor. The family lived on Lafayette Square at 207 East Charlton Street in Savannah, adjacent to the Cathedral of St. John the Baptist, where Mary Flannery was baptized into the Catholic faith on April 12, 1925. She attended school at St. Vincents grammar school, taught by the Sisters of Mercy from Ireland. She acquire national media attention at the age of five when she trained a chicken to walk backwards. The summers were often spent visiting her mothers family, the Clines, in Milledgeville, Georgia. Because of financial difficulties with his real estate business, her father, who had developed health problems as well, took a federal job in Atlanta in 1938, when Mary Flannery was 13. However, settling in Atlanta proved diff icult for the family, and Mary Flannery and her mother Regina Cline OConnor moved to the mothers family home in Milledgeville in fall of the akin year. Her fathers health continued to decline, and it was not until before long before his death on February 1, 1941 that he was diagnosed with systemic lupus erythematosis, the same disease that would claim Flannery. Following graduation from Peabody High School and the Georgia State College for Women in Milledgeville, she began attending the State University of Iowa, where she began her writing career and introduced herself as Flannery. While in Iowa City, she attended Mass daily at St. Marys Church throughout her life, she remained true to her Catholic faith. During graduate school, her short story The Geranium was accepted for publication by Accent in 1946. She submitted her thesis in 1947, entitled The Geranium a Collection of Six Short Stories, and received her Masters of Fine Arts degree on June 1, 1947. Flannery OConnors writings offer deep insight on the fallen nature of mankind through pilot program sin, but redemption through the grace of Jesus Christ. Flannery OConnors first novel, Wise Blood, published in 1952, achieved only a modest reception. However, she received critical applause and popular success with the 1955 publication of A Good Man is Hard to Find, a collection of 10 short stories, the first story bearing the same name. A second novel, The Violent Bear it Away, was published in 1960.

Should America and Canada Have a Common Economy

People pee always wondered what it would be like to step in the shoes of others flock that are completely different from them and see the differences and similarities in their lives. These days even countries are thinking of the same question. For example, what if, Canada started sharing its economy with the US? Canada and the United States have different economic systems even though the countries are geographically close to apiece other. In the economic continuum of planned, mixed and market economies, Canada has a mixed economy, and U. S has a market economy.Generally speaking, Canadians and Americans are very different sight. Creating a single economy could have disastrous effects on the lives of the people and should non be done. First off, with less government involvement Canada would no longer have the things that Canadians celebrate. Secondly, the switch would go down hard on the homeless people of Canada who would now not have the government help that they desperately need and in a colder climate like that of Canada, it would be very hard for them to tolerate with the new economy not helping them much.And lastly, Canada already has the North American Free tidy sum Agreement which gives Canada, good cooperation with the United States and obviates the necessity of much(prenominal) a move. If the Canadian economy integrated into the American economy, the future of Canada would be destined to collapse because of the things that the people would lose. At the moment, Canada is a welfare state, where there are things such as senior pension plans, free healthcare and free education from K-12. If the economy converted, these would be no more.That would lead to the start of these services being commercialize which would make the prices skyrocket (refer to figure 1). Cost of living would go up. Health conditions would deteriorate and the workforce would not be as skilled callable to higher(prenominal) cost of education. Also immigrant and refugee popul ation would drop. That will adversely affect Canadas workforce. To sum up, the Canadian economy will suffer heavily. In the United States, the government, leaves much of the economy to the private sector and this leads to a higher cost of living.To the homeless people of Canada this is bad news. First of all, Canadian homeless people live in a very cold climate where they have to buy winter jackets and such. With a higher cost, the homeless people simply cannot afford the all the things to survive winter and will have lots of problems. This would add approximately 300,000 homeless protesters that would go against the integration along with the others that want free healthcare back and would cause large-minded problems to the government.In 1994, The North American Free Trade Association started to be implemented and free trade started between Canada, America and Mexico. Canada has the NAFTA (North American Free Trade Association) that makes Canada, United States and Mexico very good cooperative nations and together they have made the largest free trade area. 1 John McCain from the Republican party5 said Last year alone, we (U. S. ) inter miscellany some 560 billion dollars in goods, and Canada is the leading export market for 36 of the 50 United States. 2The countries have agreed to many things that they will do for each other such as strengthen the special bonds of friendship and cooperation among their nations, contribute to the harmonious development and expansion of world trade and provide a gas pedal to broader international cooperation and many more things3 NAFTA has created a very strong foundation for future and created good cooperation for the three economies. So why does Canada need to share economies? In fact, what Canada gets from it, is not worth the expenses and risks it faces during the transition.So as a summary, making such an integration possible could lead to devastation, and a lot of struggle for the people. So this should not be done. Ma king the switch, takes away the joys that we celebrate such as free healthcare and makes big problems in the lives of people that depend on these services. This also raises the prices of the goods in the market making a problem for not only the common people but even more drastically for the homeless people of Canada. Also, due to NAFTA, we have very good cooperation with the United States. Is all this really worth the change? Are we going to get enough back by doing this change?

Educating Essex Essay

Dear editor, I am writing to you be grow I find it unrealistic to understand why Educating Essex represents teenagers in this much(prenominal) way to society today, it only makes an impression of them, that all Britains teenagers are goby, impolite, spoilt and lacking enough self-discipline to interact with anyone. This supports stereotypes of modern reckless teens, when in reality the bulk of Britains teenagers are interesting, polite and simply brilliant young people quietly exit about the business of creating a bright future for themselves.On Educating Essex I excite witnessed many negative things that show teenagers in a bad way, such as students walking across a table, pupils on mobile phones, swearing at each early(a) and teachers, cyber-bullying, teenage pregnancy and young girls caked with make-up, even the accession is very negative towards teenagers. This shows that all teenagers dont behave in school and do not care about their education and future, only when majo rity of students are not like that, most of them are fun-loving, active and mature for their age.I think the reason for their behaviour are the cameras, as most of them deprivation to show mangle and think its a good idea to play up to them. Educating Essex has only focused on the students that badly behave and cause the trouble all the time, still they havent showed the good side of teenagers, where they work hard in class, and behave because they are working to achieve the same of five or to a greater extent GCSEs at grade A* to C.The programme only creates a fake image of a typical teenager, but certainly they do not act like that, and I know that because I am a student myself, and Ive never attainn this kind of behaviour in my school. I think that the Daily Mail article only focuses on the teachers in Educating Essex and mostly points out the bad things teachers say and do. Also how they swing out the lesson, it shows how immature they are when they burst into a class and disturb the lesson just to sing happy birthday.Another teacher is shown as the students are deviation his class he tells them Clear off, scumbags. In a different scene it shows when Mr Goddard hides behind his door as Mr Drew enters the room, he reaches out his arm rough the door to welcome his deputy with a two-fingered gesture, and Mr Drews respond is You are such a ****er. In episode two, there is a scene shown of a girl called Carmelita, who accuses the deputy of assaulting her.At first she tells him to get lost and shut up, but in the end she gets excluded when he tells him to **** off. The deputy is cleared after the headtecher watches the CCTVcameras footage. Also the article mentions that this sort of behaviour by pupils shouldnt be allowed and there is extremely childish behaviour by the teachers, who are setting a very bad example for the pupils as they are likely to see the programme in results of this the teenagers are influenced by what they see on the TV, and think its right to behave in this practical way, another influence are the teachers, as they set an example for the students.One more significant reason for childs behaviour are the parents, because of the way they are bough up, if they have problems at home they will release their anger in school, on students and teachers. But essentially that article did not mention any positive things about teenagers. There were few positive things that Ive witnessed on Educating Essex but not many as I expected to be. I think one of them was when, they showed the students reflecting on what they have done wrong and teachers, because its great to render both sides of the story, also the relationship between the teachers and students which doesnt happen very often.Additionally how the teachers refused to give up on challenging the pupils, so they have a chance to achieve. But I think the programme shouldve showed more of the satisfactory students who are interesting, polite and clearly brilliant young people trying to achieve, to have a better future. The Observer article has also only highlighted the bad points about teenagers, much the same as the Daily Mail article. But it makes the lector hate teens, as they call them gobby, spaced- out, bizarre this only shows how selfish they are, and do not care about others.Also they point out how they dress and parent to girls as spoiled brats, and in my opinion they are allowed to do what they want, because its their own choice to look like that. I think that the programme doesnt give a real image of teenagers today because, in my opinion everyone is different, and also because it only concentrated on the bad behaved student where on the other hand there is more students that work really hard on everything, and also contribute in society.

Principles of personal devlpment Essay

Data protection act Freedom of information act 1995 Aii) Human rights act Disability discrepancy act 1995 Aiii) Human rights act Control of substances hazardous to health regulations 2002 Aiv) Care standards act 2000 Code of figure Av) Safeguarding vulnerable adults groups act 2006 Policies and procedures Avi) A PDP is a personal development plan and is done between you and your manager. They will record all information about your learning and development needs in work. Things like targets, concord objectives and activities to meet them and standards that are required.These all build your own appraisal. Avii) Carers, members of staff that work with you. The individuals you care for and their family Supervisor, manager. Task B Case study Bi) Jenna must cave in sure as shooting that she respects other peoples beliefs even though they may be different to her own. She must go about this in a non-judgmental stylus. She should overly read through peoples care plans to gain better f riendship of them and their needs. I also think Jenna should put her own beliefs to one align and then discuss with her boss any issues she may have.It is essential for carers to respect each and every individual as an individual, not letting anything affect this. mayhap she should also look back on how she has spoken to the service user and make sure she doesnt come across as rude or nasty in the future. Bii) It is very important to reflect on your work activities as its a very good way to develop skills and make sure you understand everything. It will also give you chance to plan how you are going to behave if the situation happens again.You can make changes and improve the way you work, it is also very important to reflect on your own behaviour and see how it affects others. During these reflections its a very good time to find the table service and support you may need to better the way you work. E. g. training sessions. When working in care it is important that you learn to t hink about your own practice in a constructive way. Reflection and evaluation should not undermine your confidence but you should use them in a constructive way to bring out areas for improvement. Ci) Moving and handling course training sessionKnowing how to safely move a resident e. g. hoist. Skills risk assessment is needed for each person, which impel is safe etc. do they need a hoist. We need to know the risks because if the manoeuvre is not completed properly this can cause falls and accidents. Cii) During my superior training I received feedback during my senior training, on how to do peg feeds safely and effectively. My first time, I didnt happen to flush enough water, so my assessor informed me of this, which then improved my skill as a senior to do my job role properly. I then had then knowledge and skills to improve my work role.

Promote Equality and Inclusion in Health

CU1532 PROMOTE EQUALITY AND INCLUSION IN HEALTH, SOCIAL CARE OR CHILDRENS AND youngish PEOPLES SETTINGS Understand the importance of diversity, equality and inclusion Explain what is meant by diversity equality inclusion Diversity can be defined in many different ways. What does it mean to us? Diversity is a commitment to recognizing and appreciating the variety of characteristics that make individuals unique in an atmosphere that produces and celebrates individual and embodied achievement.Examples of these characteristics are date cognitive style culture disability (mental, learning, physical) economic background education ethnicity gender identity geographic background language(s) spoken matrimonial/partnered status physical appearance political affiliation race religious beliefs sexual orientation. Equality is ensuring individuals or groups of individuals are treated fairly and equally and no little favourably, specific to their needs, including areas of race, gender, disabi lity, religion or belief, sexual orientation and age.Inclusion at its simplest is the state of being included but it is a bit more change than that It is use by disability rights activists to promote the idea that all people should be freely and openly accommodated without restrictions or limitations of any kind. Describe the potential cause of discrimination Physical effects headaches, poor appetite, a change in eating habits, sleeplessness, loss/gain of weight, deterioration of health, bruises, ulcers, overlook of personal hygiene and lack of energy.Emotional effects low self-esteem, lack of confidence, feeling unwanted, insecurity, go withdrawn, depression/stress, anxiety, sudden change in behaviour, lack of co-operation and learned helplessness. Social effects isolation, lack of friends, becoming withdrawn, unrecognized as an individual, feel like a stranger and inability to build relationships. the in secureectual effects restricted find to education, poor performance in e xaminations, lack of achievements, poor job prospects, lack of skills, self-fulfilling prophecy, loss of motivation, lack of interest in anything and absence from influence.Explain how inclusive convention promotes equality and computer backups diversity Inclusive entrust is about the attitudes, approaches and strategies taken to ensure that people are not excluded or isolated. It means supporting diversity by accepting and welcoming peoples differences, and promoting equality by ensuring equal opportunities for all. Inclusive dress is best practice. Health and social care workers demonstrate inclusive practice by working in ways that recognise, delight in, value and make the most of all aspects of diversity.Having a sound awareness of and responding sensitively to an individuals diverse needs supports them in exploitation a sense of belonging, well-being and confidence in their identity and abilities. And it helps them to achieve their potential and take their rightful place in society. In addition, inclusive practice involves having an sense of the disastrous impact that discrimination, inequality and social exclusion can hold up on an individuals physical and mental health.Having such an understanding ensures appropriate, personalised care and support, thereby enabling an individual to develop self-respect and maintain a valued role in society. Because people who fail to support diversity or promote equality are usually entirely unaware of their attitudes and the impact of their behaviour, inclusive practice involves reflecting on and challenging ones own prejudices, behaviours and work practices.It also involves challenging those of colleagues and other service providers, with a view to adapting ways of thinking and working and to changing services to build on good practice and to better support diversity and promote equality. Be able to work in an inclusive way Explain how legislation and codes of practice relating to equality, diversity and disc rimination apply to own work role The UK has in place numerous pieces of legislation (laws), rules, regulations, guidance documents and statutory codes of practice, all of which are intend to promote diversity, ensure equality and end discrimination.In other words, they are in place to promote everyones right to fair and equal treatment, regardless of their differences. The valet de chambre Rights fleck 1998. This covers many different types of discrimination, including some that are not covered by other discrimination laws. Rights under the Act can be used only against a public authority, for example, the police or a local council, and not a private company. However, court decisions on discrimination usually have to take into account what the Human Rights Act says. The Equal Pay Act 1970 (amended 1984).This says that women must be paid the comparable as men when they are doing the same (or broadly similar) work, work rated as equivalent under a job evaluation scheme, or work of equal value. The Sex Discrimination Act 1975 (amended 1986). This makes it outlaw(a) to steal against men or women in employment, education, housing or in providing goods and services, and also in advertisements for these things. Its also against the law, but only in work-related matters, to discriminate against someone because they are married or in a civil partnership.Race Relations Act 1976 (amended 2000). This states that everyone must be treated fairly regardless of their race, nationality, or ethnic or national origins. Disability Discrimination Act 1995. This states that a person with a disability must not be treated less fairly than someone who is able-bodied. Employment Equality (Religion or Belief) Regulations 2003. This says it is unlawful to discriminate against people at work because of their religion or belief. The regulations also cover tuition that is to do with work. Employment Equality (Age) Regulations 2006.This says it is unlawful for an employer or potential employer to discriminate against you at work because of your age. Show interaction with individuals that respects their beliefs, culture, values and preferences I advance invitees to be independent members of the community and to take as much charge for their own self-care as is possible, within their Rights And Responsibilities. In my work, I adhere to the Legal Requirements of the address Standards Act. I sate the requirements of the Registering Authorities within my role and aim to improve on these requirements.I have a duty of care to my clients. I leave alone purpose and support clients with any matter they may require assistance with, within my role and capability. I ensure that no personal information regarding a client is disclosed to a third party without prior agreement of the client concerned. Communication with clients should be at the level of their understanding and provide privacy and promote dignity and self-respect. Carers via communications with clients famil y, preceding recording assessment and observation will be aware of any associated difficulties. It may be indispensable to remind e. g. onfused elderly clients from time to time and assist where necessary. The Home encourages care workers to take on the role of advocates to promote the awareness of clients rights and help them gain access to the services they need. The following set of values is supported for all clients The freedom of choice on personal matters and preferences. The opportunity to fulfill personal ambitions and develop intimacy and skills. The right to the fullest expression of citizenship. The right to lead an independent a life as possible. The right to privacy and personal space without hindrance.To be treated with respect and dignity in a caring manner at all times. To be recognised as an individual with regard to personal needs irrespective of mountain. The right of freedom of movement from one place to another without restriction. It is necessary that all records be accurate, legible and complete and current in all circumstances including the promotion of rights and responsibilities. Be able to promote diversity, equality and inclusion Demonstrate actions that model inclusive practice The Equality Act became law in October 2010. It replaces previous legislation such as the Race Relations Act 1976 and the Disability Discrimination Act 1995) and ensures consistency in what you need to do to make your work a fair surround and to comply with the law. The Equality Act covers the same groups that were protected by existing equality legislation age, disability, gender reassignment, race, religion or belief, sex, sexual orientation, marriage and civil partnership and pregnancy and maternity but extends some protections to groups not previously covered, and also strengthens particular aspects of equality law.The Equality Act is a mixture of rights and responsibilities that have Stayed the same for example, direct discrimination still oc curs when someone is treated less favourably than another person because of a protected characteristic Changed for example, employees will now be able to complain of harassment even if it is not directed at them, if they can demonstrate that it creates an offensive environment for them Been extended for example, associative discrimination (direct discrimination against someone because they associate with another person who possesses a protected characteristic) will cover age, disability, gender reassignment and sex as well as race, religion and belief and sexual orientation. Been introduced for the first time for example, the concept of discrimination arising from disability, which occurs if a disabled person is treated unfavourably because of something arising in consequence of their disability. Demonstrate how to support others to promote equality and rightsThe Home is committed to promoting equality of opportunity, tackling discrimination and welcoming and valuing the diver sity of the communities we serve. This policy highlights compliance with anti- invidious legislation and restrictive requirements and our ongoing commitment to equality and diversity. It also acts as a framework for promoting and adopting best practice and delivering continuous improvement across all our key railway line areas. We believe that excellent customer service means providing a service that is accessible and desirable to all, that the promotion of equality and diversity is essential to our core dividing line and that a diverse customer and staff base requires us to value those differences.We will drive commitment to equality and diversity in service pitch shot by providing accessible and customer focused services, improved understanding of the customer journey, build capacity to refer customers to other services and increase methods of communication to bear our customer needs. The Home will aim to ensure that no person receives less favourable treatment from the organ isation including on the grounds of race, colour, gender, transgender, marital status, religion, disability, age HIV status or sexual orientation. We will monitor all applications for housing and employment by ethnic origin, disability, age and gender to ensure we meet our objectives.Describe how to challenge discrimination in a way that promotes change Always challenge discrimination. Do it in a calm and professional way and tell the individual that what they are saying is unacceptable. You can also say that you are upset and offended by discriminatory words and actions. Also, that it is unlawful. In a work setting, discrimination can be a disciplinary matter and procedures should always be in place, in the form of written documentation, shared with the employee and employer. There should be support for you as an individual, if you are dealing with discrimination. Challenging discriminatory behaviour means not letting this behaviour happen without taking some enlighten of action a gainst it.There are many ways that people can be discriminated against. They include verbal or physical abuse, exclusion, labelling or stereotyping . It is important to challenge discriminatory behaviour because it can cause distress, ill health, isolation and stress to a service user. Discrimination usually arises from a lack of awareness and experience quite a than deliberate intent. Each organisation needs a policy that will reflect its own ways of working, its community and constituency, activities and size. By examining in detail how you operate, you will learn to recognise how and where discrimination is manifesting itself and be able to deal with each instance.

Consider the theme in Of mice and men Essay

* The script Of Mice and Men was set in the conviction of the great depression of the 1930s in California in a designate c alled Soledad. Men travelled around looking for any work they could find, they had to leave families and homes just to make m atomic number 53y. Even firms and companies went bankrupt, these were depressing and desperate times, no hope and no future.* During this period of time there was a depression in America. Unemployment was high, so men moved from ranch to ranch looking for work, never staying in one and all(a) place long enough to firm any real relationships, so this was a very lonely existence.* John Steinbecks inspiration from came from him at an introductory age working as a migrant farm worker and so he understood completely about the conditions and life around him so he could really create an atmospheric tale.* It is based on two men, George and Lennie, who travelled from ranch to ranch. George is a small and fairly intelligent man patch Lennie is a large man of very little intelligence. They had travelled together for a long time.* In my opinion, the or so obvious point made end-to-end the book about the world of migrant workers is that it is lonely. George tells that cat-o-nine-tailss uniform usare the loneliest guys in the world. They got no family. They dont belong no place. This is in like manner steern when thin out comments that he hardly never seen two guys travel together Most migrant workers travel on their own and this is why George and Lennie face some(prenominal) fairly intrusive questions from their new boss when they first arrive at the ranch. This boss even finds it so unusual that he asks George, referring to Lennie, what stake you got in this guy?. He also again refers to this creation unusual by saying I never seen one guy take so much hurt for anformer(a) guy.* They are legion(predicate) characters in the novel that are also lonely and this is due to sexism, ageism, moreover mainly racism. One perfect precedent is CrooksCrooks, the black stable buck is forever being picked on by the other men at the ranch, mostly because of his colour. In the time in which the book was set, black people in America were thought of as lower than white people. At the ranch, Crooks cannot acknowledge in the bunk house with all the other men, moreover he has to sleep in the harness room, at the back of the barn. Crooks is given no privacy, and gets quite cross because he is not allowed to enter the bunk-house but the other men can just walk into his room. In the book he says to Lennie, Youve no right to drive into my room, nobody got any right in here but me.* Another reason is because of your age. Candy is lonely because he is old, and is different from the other hands. His scarcely comfort is his old dog, which keeps him company and reminds him of days when he was young and whole.He has no relatives, and once his dog is killed is totally alone. He eagerly clutches at the idea of b uying a farm with George and Lennie, but of business line this all comes to nothing.Candys disappointment is expressed in the bitter words he utters to the body of Curleys wife, whom he blames for spoiling his ambition. separate 1* George is a kind man. He travels with Lennie and helps him to survive although Lennie is more of a burden than a help, and creates many problems for him. He is also friendly, and almost immediately makes friends with Candy, Carlson, foreshorten, and the other ranch hands.He has fledged a lot since the incident he relates to Slim where he made Lennie jump into a river just for fun. He realises that Lennie depends on him, and needs him to survive.George often insults Lennie and gives him sine, but he doesnt really mean it.Although he often prattles about how well off he could be without Lennie he secretly doesnt want Lennie to leave, and when Lennie offers to do so in the first chapter, George virtually p windings with him to stay, Ive got you an yo uve got me. This is because George also depends on Lennie to a certain extent for his unconditional friendship. George is intelligent, as Slim points out in chapter three, but also modest in denying being smart. He expresses his desire to be different from other ranch hands who only when work for a month and then spend all of their money, but also realistically realises that his dream of owning a house with Lennie (or anyone else) is unlikely to ever come true.Overall, George is an intelligent and kind character. He is thoughtful enough to realise that the best thing for Lennie is to shoot him, for the alternatives are even worse, and compassionate enough to kill Lennie himself.* Lennie is a massive, extremely strong man, who has no living relatives. He travels about the country searching for work with his feller, George. Lennies Aunt Clara had asked George to take care of Lennie if she ever died. The most obvious feature of Lennies character is that he seems retarded. He is a man who has the mind of a child. Slim is one of the first characters to notice this, remarking that Lennie isJes like a kidand Curleys wife also comments on how he isJus like a big baby.Lennie doesnt know his own strength, and this is one of the things which lead to his eventual downheartedfall. He realises that he is, strong as a bull, but he cant judge how much wildness to use for certain actions. That is why he kills his pets, when he only intends to pet them and play with them.It is this inability to judge his strength, combined with his desire to pet things and Curleys wifes desire to be petted and admired which leads to Lennies inevitable death. The ability to judge ones own strength is one of the first signs of maturity, and it is cardinal that Lennie doesnt use up this ability.Despite the major flaws in his character he is amiable and friendly , and doesnt do any of the bad things he does on purpose.He has a poor memory, and has to repeat things to himself many times to rem ember them. Even then, he still forgets them.He has a blind faith in George, swear in him to protect and look after his welfare. For caseful, remember the incident George describes to Slim when he told Lennie to jump in the river and Lennie obeyed, without a thought to his own well being. This illustrates Lennies trust in George, and also his immaturity.However, it must be noted that Lennie can still be quite crafty, as when he cunningly persuades George to tell him the story about the rabbits by threatening to leave him. dissever 2* Because of Lennies handicap George has established a personality around his companion to make it easier to live around him. George has found a way of coping with Lennie which is to shout at him. God a mighty, if I was alone I could live so easy.He supports him in the way he needs although when he is angry he does criticize him As dum as a horse.* George thinks of Lennie as a companion as he doesnt have any family. On the other hand he finds him as a pain.Lennie feel the same way to a certain extent but also fears George as he is in control and orders and protects Lennie.They travel together searching for work on ranches and so never settle, and so dont establish true friendships with others, but since they have each other they seem secure, but Lennie gets into a lot of trouble and so needs George so really George doesnt have time for himself, which is why they do almost everything together.* Others see this relationship as different- Slim comments Aint many guys travel around toghther.Maybe everbody in the whole damn world is scared of each other. George and Lennie are different as Lennie says I got you to look after me, and you got me to look after you* Dreams are significant when considering how these men as one of the ways in which the characters combat the loneliness and hopelessness of their existence.For example the dream farm, a dream shared at first only by George and Lennie, later spreads to include Candy and Crooks, as they are all desperate to escape their lonely livesCrooks reveals that it is the favourite dream of the itinerant ranch handsSeems like ever guy got land in his head.It is a sinewy dream, however, and even Crooks falls for this, for a short time.To Lennie, the dream is a cure for disappointment and loneliness, and he often asks George to recite the description of the farm to him.Paragraph 4* Crooks is an even lonelier character than Candy, because not only is he old and a cripple, like Candy, but he is also black. Most of the men have a lot of prejudice against Crooks, referring to him with derogatory terms such as nigger. (Prejudice around slavery wasnt rare)* He lives in the shed at the other end of the ranch, isolated from the rest of the workers there.* Crooks is a victim. We are told by Candy that the Boss takes his anger out on Crooks, though Crooks does nothing wrong.* Crooks spends his time alone reading and is a fairly knowledgeable person, as he owns a copy of the Cali fornia civil code for 1905 He also plays horseshoe until dark. This shows us that Crooks is interested in reading as is most likely one of the smartest of the crowd. This also suggests that he has found reading as an escape course from the terrible world around him.* Crooks reveals that it is the favourite dream of the itinerant ranch hands* As a result of the discrimination against him, Crooks has become bitter and cynical. This is why when Lennie and Candy tell him about their plan to buy a house he reacts with scorn and disbelief.Seems like ever guy got land in his head.It is a powerful dream, however, and even the cynical Crooks falls under its spell for a short time.Paragraph 5* Curleys wife is described as having skillful rouged lips and wide spaced eyes, heavily made up. Her fingernails painted and her hair hung in little rolled clusters.* Most of the ranch hands except for Slim brand Curleys wife as tart. In fact, she is portrayed as such whenever she appears, obviously p laying up to and teasing the men.We can definitely say that she is lonely. John Steinbeck illustrates how lonely Curleys wife is when she says I never get to talk to nobody. I get awful lonelyShe says so several times, and that is to be expected since she is stuck on a ranch with men who dislike her and rarely talk to her, as they fear getting into any sort of trouble with her husband Curley, stay away from her.However, she assays to vote down her loneliness in the wrong way. George immediately realises that she means trouble when she first turns up in the bunkhouse, and it is hardly surprising that her actions lead her new husband to be fiercely jealous.She is so cruel because of her unhappiness, her isolation and the failure of her dreams. She dreamt of being in the movies or even in a show. She is disappointed and marries Curley to spite her mother only to find out he aint a nice fella. She wishes she could have made something of her life.She walks around the ranch, dressed inappropriately and seductively. and she has only been get hitched with a couple of weeks. She admits to Lennie that she doesnt like her husband and regrets marrying him. She seems to be of limited intelligence, as this shows her how desperate she is to escape. It is partly her desire to be petted and admired which leads her to allow Lennie to stroke her hair, which in turn leads to her death at Lennies hands.She is only ever known as Curleys wife which indicates that the cause viewed her as a possession of Curleys rather than a human being. I pity her as she made a mistake into leading herself into these problems with Curley and this is reservation her bored ill.Paragraph 6* The next afternoon, Lennie is in the barn. All of the other men are outside playing a game of horseshoes, and Lennies only company is his dead puppy. Lennie had accidentally killed it. He fears that George will not let him tend and feed the rabbits if George knows that he killed the puppy.While Lennie wonde rs what to do, Curleys wife appears. She tries to get Lennie to talk to her, but Lennie is reluctant, since George had threatened to forbid him from tending his rabbits if Lennie ever did so. When she directs Lennies attention to his puppy, though, Lennie forgets about not talking to her. He explains everything to her.Curleys wife listens sympathetically, and she tells Lennie about her aspirations of being an actress, and how she believes her mother deliberately thwarted her plans.She becomes angered by Lennies continual references to rabbits, and asks him what his attraction to them is. Lennie explains that he likes to touch and pet soft things, like rabbit fur.* Curleys wife allows Lennie to stroke her hair, but panics when he wont let go. She begins to struggle and scream, and Lennie, also in a state of panic, shakes her to make her stop saying, I dont want you to yell. You gonna get me in trouble jus like George says you will, and he covered her rouged lipped mouth with his lar ge palms. She move to scream and struggle and now the fully nervous Lennie shouted angrily at her, Dont you go yellin , and shook her and her body flopped like a fish he shakes her so violently that her neck broke and she died instantly.Lennie knows that he has done another bad thing and remembers that George told him to go and hide in the clang down by the river, so he quickly runs there.Sometime later, Candy enters the barn and discovers the body of Curleys wife. He runs and fetches George.George realises what has happened, and says that he has to tell the others. Candy protests, rightly pointing out that Curley would deliver no mercy to anyone who had killed his wife. Candy is in favour of letting Lennie escape. He asks George if it is still possible to buy the house, but his dreams are shatter when George says it isnt.When George tells the labourers the news, they all go into a frenzy, and seem affected by blood lust. Curley is furious and vows to kill Lennie. Carlson rushe s off to get his gun, and even Whit wants to join in the hunt.Carlson reports that his gun has been stolen, and everyone thinks that Lennie is responsible. George begs Curley to have mercy on his companion, but Curley says he cant because Lennie has a gun. All of the men run off except for Candy, who lies down in despair.* The relationship between George, Lennie and Candy was now destroyed.* This relates to the theme of dreams as they couldnt get their own place and so their dream had crumbled as well.Paragraph 7* Loneliness affects many of the characters, and Steinbeck seems to show that it is a natural and inevitable result of the kind of life they are forced to lead.The itinerant workers are caught in a trap of loneliness they never stay in one place long enough to form permanent relationships. Even if such relationships existed, they would credibly be destroyed by the demands of the itinerant life.Candy is lonely because he is old, and is different from the other hands. His onl y comfort is his old dog, which keeps him company and reminds him of days when he was young and whole.He has no relatives, and once his dog is killed is totally alone. He eagerly clutches at the idea of buying a farm with George and Lennie, but of course this all comes to nothing.Candys disappointment is expressed in the bitter words he utters to the body of Curleys wife, whom he blames for spoiling his dream.George is also caught in the trap of loneliness. Just as Candy has his dog for company, George has Lennie (who is often described in animal-like terms). Continuing the parallel, George too is left completely alone when Lennie is killed.The dream farm is his idea, and he says Wed belong there no more runnin around the country.Another lonely character is Curleys wife. Newly married and in a strange place, she is forbidden by Curley to talk to anyone but him. To counter this, she constantly approaches the ranch hands on the excuse of looking for Curley. The only result is that th e men regard her as a slut, and Curley becomes even more intensely jealous. Finally, her loneliness leads to her death as she makes the serious error of trying to overcome it by playing the tease with Lennie.Curley himself is lonely. His new wife hates him as do all the ranch hands who despise him for his cowardice.He has married in an attempt to overcome his loneliness, but has blindly chosen a wife totally inappropriate for the kind of life he leads.His feelings are all channelled into aggressive demeanour which further isolates his wife and leads to the incident with Lennie where his hand is crushed.Crooks is another who is isolated because he is different. He copes with it by keeping a distance between himself and the other hands. When he does allow himself to be drawn into the dream of working on George and Lennies dream farm, he is immediately shut out by Georges anger.* The conclusion, in my opinion is that people are brought together though loneliness and separated as they grow hostile (Crooks). It is like an endless game which has to be contend by someone before someone gets eager and makes it worse by instigating.This is fatewhat will happen will happen. Just like a game .. someone always wins..and someone always loses..

Creativity in Education Essay

A instruct with originativeness at the he wile of the buncoing process go away attain by increasing the motivation of staff and bookmans, says former head, Dave Weston. In this article and case study, he shows the way to more imaginative approaches to course of instruction planning inventive persuasion is the defeat of habit by originality fraudhur Koestler Many school leaders and tutorers realise that is now time to take more control over the syllabus and to accept a greater emphasis on yeastyness in the larn and precept process.During the last five years, headteachers comport developed the confidence to take forward- expression and imaginative approaches to class planning and school organisation. This is due to virtu all in ally encouragement from central government in the light of recent perceived improvements in aboriginal literacy and numeracy standards and to the realisation that a wider and more exciting curriculum can lead to greater levels of motivatio n for both pupils and staff. creativeness and innovation have now been legitimised by the DfES and capital schools are actively encouraged to develop creative caprices and actions promoting creative thinking is a powerful way of engaging pupils with their eruditeness Excellence and Enjoyment DfES 2003 (page 31) What is creativity? Creativity is often associated with the creative arts but in reality it is certainly not unique to the arts. It can be seen and identify in all aspects of the arts, humanities, sciences, maths and technology. The issue Curriculum Handbook (1999) included creativity within the section on thinking skills.It stated that Creative thinking skills en qualified pupils to pose and extend ideas, to suggest hypotheses, to apply inclination and to look for alternative innovative outcomes. Didnt we always teach it? Creativity was taught in the 1970s and 1980s, often through topic-based projects, but in that respect was a lack of accountability, detailed pla nning and thoroughness. Much of this perceived creativity disappeared in the 1990s as it did not fit into a strategic box and schools thought that there was not time for it and that such an approach was not valued by central government.The difficulty in metre the success of a creative approach to immemorial learning and teaching gave our education system many problems. As a result headteachers, under the pressures of Ofsted superintendence and statistical league tables, became reluctant to take risks with the curriculum. However, more recently this situation has started to change, peculiarly with the cultivation of the creative partitioningnership ends. The Reggio genus Emilia approach The success of the Reggio Emilia approach to archaean years education has influenced theory and perpetrate in the area of creativity in primary education.In schools in Reggio Emilia there is an innovative staffing structure with each proterozoic years centre having an atelierista (a speciall y trained art teacher) who calculates closely with the classroom teachers. In Italy in the primary sector there is significant teacher autonomy with no national curriculum or associated achievement running plays. In Reggio Emilia the teachers become skilled observers and they routinely divide responsibilities, so that one can systematically observe and record conversations between children while the different is teaching the class.Teachers from several schools sometimes cast and learn together and this contributes to the culture of teachers as learners. The learning environment is crucial in the Reggio Emilia approach and classrooms often have courtyards, wall-sized windows and easy access to stimulating exterior areas. Each classroom has large spaces for group activities and specially designed areas for pupils and staff to interact. Display areas are large and stimulating and reflect the creativity of the children.Teachers in early years stupefytings in Reggio often refer to the learning environment as a third teacher as most centres are small with expert two classroom teachers. The curriculum is project-based and there are numerous opportunities for creative thinking and exploration. The teachers work on topics with small groups of pupils while the rest of the class work on self-selected activities. Projects are often open-ended and therefore curriculum planning is flexible and is sometimes teacher-directed and sometimes child-initiated.This school of thought is inspiring and can be partially transferred to the different framework of the British primary school. Whole-school approach to developing creativity For school leaders the first step in developing a creative school is the fostering of a entirely-school approach. Creativity is not an add-on and it cannot be imposed by the headteacher. There motivatings to be discussion, involvement and ownership. The debate should be based around some of the following points taking control of the curriculum b y the school.the creation of a school with creativity at the heart of the learning process enhancing the motivation for staff and pupils fostering the professional education of all the staff, both teaching and non-teaching involving governors and parents in a whole-school approach to creativity and showing how this philosophy give births school improvement and high standards of achievement getting the pupils involved in school issues (regarding the curriculum and the learning, perhaps through the school council). How does your school measure up?So how far has your school got in developing a creative approach to learning and teaching? Ask yourself Have you discussed the freedoms of developing a curriculum appropriate for your school? Does your school ripening and improvement plan take account of creativity in learning and teaching styles? Is creativity a part of your staff emergence programme? Is the governing body committed to promoting creativity throughout the school? Is ther e a nominated governor involved in this approach? How involved are the pupils in discussing the curriculum and in a creative approach to learning and teaching?Does your school care wide-eyedy plan visits to galleries and projects involving artists and craftspeople? atomic number 18 creative successes evaluated in the SEF? Does your school celebrate and promote creativity to a wider audience? Celebrating creativity Creativity should be celebrated and the school should consider looking for outside accreditation through the Artsmark scheme. Creative successes should be carefully evaluated, highlighted in the SEF and showcased to parents and the community.Staff should be empowered to design activities within the curriculum which are exciting, motivating and pertinent to theirschool and pupils. Once these seeds are sown, creativity ordain flourish. Case study making our school a more creative environment At the primary school where I was headteacher, we recognised that the curriculum had become unbalanced and that we were spending too much of the timetabled day on English and maths. Staff kept give tongue to that too little time was being devoted to the arts and humanities. This imbalance was having an effect on the motivation of some pupils, especially in Years 5 and 6 and on the job satisfaction of the staff.Like every school, we were very anxious to maintain high standards in English and maths and to ensure that our KS2 SATs results were good. However, we distinct that we were fairly secure in the core curriculum and that the time had come to reclaim the curriculum. Therefore we examineed our whole-school curriculum plan and looked at all the ways we could grant our school a more creative and exciting environment. The aspects of school life we reviewed were as follows encouraging a more flexible approach to the timetabledeveloping the school grounds to link in with the outdoor curriculum. We decided that the school grounds were under-used as a learning en vironment. Therefore each curriculum coordinator was given the prospect to have a part of the grounds as an outdoor curriculum area to support real learning in that area. Staff came up with stacks of imaginative ideas such as Music developing an outdoor music trail with differing instruments hanging from trees and fences. Geography developing an orienteering trail around the edge of the field.Art developing an outdoor sculpture area with a clay model from every pupil. Languages playground signs and rules in differing languages. Science developing an environmental area with a pond, seating in the shape of different animals and insects. Design and technology one of the most successful creative projects was the development of a courtyard on the depicted object of containers. Each of our 11 classes chose a different type of container (Reception chose old wellington boots while Year 6 chose a large tractor tyre) and in the summer they were change and planted up.Supporting the F oundation Stage curriculum with exciting outdoor areas and incorporating some of the Reggio Emilia approaches to early learning. The school decided it was important to give the early years staff the confidence to develop an exciting integrated curriculum based on the needs of adolescent pupils rather than on the formalised curriculum. obstetrical delivery in artists and craft workers to give pupils to work with adults with different skills. Each year we decided to bring artists into the school so every pupil had the opportunity to work with a real artist at some time during their primary school career.This was an expensive approach but worthwhile as often the skills of the artists divine school staff to try new ideas and therefore provided a professional development aspect to their work. Celebrating the different languages in our school. As our school was very recherche on teaching MFL to all the KS2 pupils we decided to celebrate all the languages of our school by designing a m ural which showed pupils from all the countries involved saying hi in their home language.Our pupils decided that on the mural the pupils from the different countries should have hats showing the flag of their country. The large mural was painted by the pupils with the support of a professional artist and is now proudly on display by the entrance to the school office. evolution the confidence and role of the art coordinator. Enhancing the motivation of some pupils and giving greater ownership of the learning process to the staff. Getting involved in the Creative Partnerships scheme to get access to support and resources.Introduction 1. The HMIE inform Emerging Good Practice in Promoting Creativity promulgated in March 2006 gathered evidence from inspections of pre-school centres, primary and secondary schools and community learning and development to identify and analyse emerging good practice in promoting creativity, and provide advice on a feed of issues related to creativity including learning and teaching, opinion, and current practice in evaluating success in promoting creativity. 2.The Scottish Executive learning discussion section has agreed to supplement the HMIE report by providing a brief overview of some detect national policy developments and other initiatives across the UK promoting creativity in education. The aim is to help educators and policy makers by highlighting some important advice and other support to encourage good practice. The paper is not however a comprehensive review. The bibliography is intended to assist those who wish to explore further the issues discussed. Creativity, Culture and preparation (Developments in England) 3.Although focusing on England, the National Advisory Committee on Creative and Cultural rearings (NACCCE) report All Our Futures Creativity Culture and Education has proved influential on subsequent efforts to promote creativity in education elsewhere in the UK. 4. The NACCCE was established in 1998 to make recommendations to the then repository of State for Education and Employment and Secretary of State for Culture, Media and Sport on the creative and cultural development of young people through formal and folksy education to take stock of current provision and to make proposals for principles, policies and practice. The Committee was chaired by Professor Ken Robinson and its report was published in 1999. 5. The report underscore that all children and young people can benefit from developing their creative abilities and this should be seen as a general function of education. Creativity can be developed in all areas of the school curriculum including the sciences as well as the expressive arts. As discussed later in this paper, the NACCEs definition of creativity was adopted as part of subsequent initiatives in Northern Ireland and Scotland. (A summary of the reports general advice on teaching for creativity is contained in the augment to this paper.)The NACCEs report was we lcomed by the Department for Education and Skills (DfES) and Department for Culture Media and Sport. Although the Government did not implement all of the reports recommendations with regard to the National Curriculum in England, many elements were taken forward. For instance, the report led directly or indirectly to important initiatives such as Creative Partnerships and Artsmark. 6. Creative Partnerships is a government-funded national initiative operating in 36 of the most disadvantaged areas in England and designed to build sustainable relationships between schools, creative individuals and organisations.It aims to transform the aspirations and achievements of young people the approaches and attitudes of teachers and schools the practices of creative practitioners and organisations who wish to work in schools. 7. Starting with the needs of schools and young people, creative practitioners work across and beyond the curriculum, animating the classroom and decision new ways for teac hers to teach and young people to learn. Through the development of projects of varying scales, creative practitioners, teachers and young people work together as live partners to place creativity at the heart of learning.8. Artsmark is a recognition scheme for schools arts provision run by Arts Council for England and supported by DCMS. The scheme encourages schools to increase the range of arts that are provided to children in schools and raises the profile of arts education. (Further information on Creative Partnerships and Artsmark can be accessed through the links provided in the bibliography. ) 9. The educational debate has moved forward considerably since the NACCCE report was published and there is now a much wider acceptance that a broad and enriching curriculum goes hand in hand with high standards.Since September 2000, schools have been working with a more flexible National Curriculum with greater emphasis on the need for creative and cultural education. There are unamb iguous references to the importance of creative and cultural education in the aims for the curriculum and there are explicit references to creativity encouraging pupils to use their imagination and look for innovative outcomes. The Schools White Paper, Schools Achieving Success, launched in September 2001 raised the status of creativity and the arts by pledging to provide a range of additional opportunities for creativity and curriculum enrichment.10. DfES as well as hosted the Creativity and Cultural Enrichment Working Group (CACE) from May 2001 to Oct 2003. This working group was post up in response to the NACCCE report as a cross-agency reference group with a terminate focus on creativity and cultural enrichment. The idea was to share information across various agencies and departments, to provide updates on key policy initiatives and projects and act as a source of new ideas. 11.CACE has now been superseded by subsequent work such as the Qualifications and Curriculum Authori tys (QCA) initiative Creativity scrape up it, Promote it and Creative Partnerships which have built up the knowledge base of creativity in education and helped spread good practice. QCA promotes creativity as an integral part of all National Curriculum effects and place the characteristics of creative thinking and behaviour including Questioning and challenging conventions and assumptions Making inventive connections and associating things that are not usually related Envisaging what might be imagining seeing things in the minds eye.Trying alternatives and fresh approaches, keeping options open Reflecting critically on ideas, actions and outcomes QCA advises that, with minimal changes to their planning and practice, teachers can promote pupils creativity. 12. QCAs Creativity Find it Promote it, and Arts Alive websites shows how to maximise the impact of creativity and the arts in the curriculum, identifies best practice and provides case study examples for teachers containing pr actical suggestions in promoting creativity and the arts across the curriculum 13.OFSTED the inspectorate for children and learners in England carried out a survey identifying good practice in the promotion of creativity in schools (Expect the Unexpected Developing Creativity in Primary and Secondary Schools published in 2003). They found that there was generally high quality in creative work. Any barriers that existed could be overcome if teachers are committed to the promotion of creativity, possess good subject knowledge and a sufficiently broad range of pedagogical skills to foster creativity in all pupils, whatever their ability. The active support of senior management is also important.OFSTED emphasised that the creativity observed in pupils is not associated with a topic new pedagogybut a willingness to observe, listen and work closely with children to help them develop their ideas in a purposeful way. The report can be accessed here. 14. The latest development in England is an independent review on Nurturing Creativity in Young People jointly commissioned by DCMS and DfES to inform the tush of the Governments future policy on creativity. The review was led by Paul Roberts, Director of Strategy from IdeA (Improvement and Development Agency). The review aggroup published their report in July 2006.This provides a framework for creativity starting with Early Years, developing through mainstream education and leading to pathways into the Creative Industries. The report also machinate out what more the Government can do to nurture young peoples creativity. Particular issues discussed include the role of partnerships between schools and the creative and cultural sector, the development of a new Creative Portfolio to celebrate each young persons creative achievements and creating spaces for creative activity through the building Schools for the Future the school estate redevelopment programme.The Government will publish a response to the creativity rev iew report and an action plan in Autumn 2006. Unlocking Creativity (Developments in Northern Ireland) 15. Following his work with the NACCE, Professor Ken Robinson chaired a Creativity in Education Working Group in Northern Ireland. The Working Group was a cross-cutting initiative by the Department of Culture, Arts and Leisure (DCAL) the Department for Education (DE) the Department of Enterprise, Trade and Investment (DETI) and the Department of Higher and Further Education, Training and Employment (DHFETE) (now known as the Department for Employment and breeding DEL).The aim was to develop a co-ordinated strategy for the development to the full of the creative and cultural resources of the people of Northern Ireland. The result of this work was the consultation report Unlocking Creativity A Strategy for Development published in 2000. 16. The report adopts the definition of creativity contained in the NACCE report Imaginative activity fashioned so as to produce outcomes that are both original and of value. Creative processes have four characteristics. First, they always involve thinking or behaving imaginatively.Second, this imaginative activity is purposeful that is, it is directed to achieve an objective. Third, these processes must generate something original. Fourth, the outcome must be of value in relation to the objective. 17. Unlocking Creativity A Strategy for Development make three key recommendations for education Develop continuity and progression in creative and cultural education throughout learning, teaching and youthwork. The development of methods and principles of assessment and examination that recognise and value the aims and outcomes of creative and cultural education.Ensure that all professional vocational and academic qualifications positively promote the importance of creative and cultural education. 18. The results of the consultation were published in a second report, Unlocking Creativity Making It Happen, published in 2001. The va st majority of responses supported the proposals made in the consultation document and Unlocking Creativity Making It Happen set a wide range of objectives for future work. The key objectives for education related to a review of the curriculum being taken forward by the Council for the Curriculum, Examinations and Assessment (CCEA).The report highlighted CCEAs proposals to include a creative component at all Key Stages. It set a wider objective of signposting clear steps towards accredited programmes of learning for people of all ages interested and inspired by creativity and sought to encourage collaboration between various agencies and departments to ensure that creativity is fully recognised in the development of assessment methods and the curriculum. The report also highlighted the establishment of a Creativity Seed Fund which invested ? 2.8m over three years to encourage projects that would either promote creativity in education or strengthen Northern Ireland as a competitive p resence in the creative industries. The Education and Training Inspectorate produced a set of quality indicators for the Creativity Seed Fund. The indicators cover outcomes and standards, ethos, assessment and review and management arrangements. 19. A third report, Unlocking Creativity A Creative Region, was published in 2004 and set out a series of medium term strategic measures to maintain the momentum on developing creativity across education, culture and employment.The report over again highlighted CCEAs work on Curriculum Review. The Education (Northern Ireland) Order 2006 will give effect to the revised curriculum, which will be introduced on a phased tooshie from September 2007. 20. The revised curriculum will be more flexible, offer greater scope for creativity to meet the changing needs of pupils, society and the sparing and have a greater emphasis on developing skills. One of the Thinking Skills to be developed across the curriculum is Being Creative, where children sho uld be able to use creative approaches, to be imaginative, to take risks, to question and explore possibilities.The revised curriculum will also provide more flexibility for teachers to tailor what they teach to meet the needs of their pupils and therefore encourage more creative approaches. Assessment will be formative, as well as summative, with pupils assessed in their progress in the skills and areas of learning and pointed towards areas for future development. This Assessment for Learning (AfL) is already being piloted. One of the most important means of promoting creativity in the revised curriculum will be through Education for Employability.Pupils will look at enterprise and creativity in the modern workplace, what it takes to be an entrepreneur and they will have opportunities to award enterprise and creativity. The pilot work for this aspect of the curriculum has involved school pupils working with local businesses and artists to develop creative solutions to business iss ues. 21. CCEA is also developing mannequin corporeal and other support materials to illustrate how opportunities can be developed in all curriculum areas to promote creativity.Draft versions of the support materials have been made available to pilot schools and CCEA plans to distribute them to all schools as soon as feasible in the 2006/07 year. 22. Unlocking Creativity A Creative Region noted CCEAs work on auditing examination specifications in order to promote creativity in the learning and assessment associated with qualifications. This audit has now been completed and enabled areas in teaching and learning to be identified that would support a more creative approach.The results will be taken into account as specifications are revised for re-accreditation. Re-accredited specifications will be available for first teaching from September 2008 (GCE A-Level) and 2009 (GCSE). CCEA is also working with the English and Welsh regulatory bodies to review accreditation criteria and this will take account of thinking skills, such as creativity. The Department of Education is also considering an incentive and accreditation scheme for teachers, principals and schools with a view to embedding creativity across the curriculum.A pilot has been arranged to test an Artmark Toolkit involving five schools and, following evaluation, will be rolled out to all schools in September 2006. 23. An important feature of Northern Irelands work on creativity is the emphasis on harnessing new developments in ICT. Many of the education projects funded through the Creativity Seed Fund included developing ICT skills and linking these to creativity by, for instance, producing material for radio, making documentary films or creating digital content.Unlocking Creativity A Creative Region seeks to embed the concept of the use of ICT to enhance young peoples creativity across the curriculum. The EmPowering Schools strategy has since been published, which incorporates the development of creativi ty and innovation in the use of ICT. 24. Unlocking Creativity A Creative Region included Creative younker Partnerships (CYP), a 3 year pilot from April 2004 to March 2007 involving the Arts Council NI, the Department of Education, the Department for Culture, Arts and Leisure and the Education and Library Boards.Through a cooperative approach, CYP aims to increase participation among young people in arts activities, develop arts infrastructure in NI and develop the contribution of artists and the arts to the learning and development of young people in schools and the youth sector. A key aspect of CYP is local partnerships to develop creative projects using a variety of art forms. The Education and Training Inspectorate (ETI) is evaluating CYP and its Interim Report (September 2005, full report due October 2006) highlights the developmental nature of the evaluation of a creativity initiative.The Report pointed to some areas for development but found the project to have many strength s. Developments in Wales 25. Wales, like England and Northern Ireland, has a statutory National Curriculum. Creative skills are one of the septet common requirements in the Welsh National Curriculum. Teachers should provide opportunities, where appropriate, for pupils to develop and apply the seven common requirements through their study of all National Curriculum subjects. (The other common requirements include mathematical skills, Information Technology and problem solving skills.) 26. The Department for Education, Lifelong Learning and Skills (DELLS) has produced a guidance note for teachers highlighting subject areas of the National Curriculum, from science to modern languages, where pupils can be given opportunities to develop and apply their creative skills, in particular the development and expression of ideas and imagination. 27. A review of the National Curriculum in Wales is currently underway for proposed implementation in September 2008.Findings from an initial consulta tion in 2004 were that there should be a clear focus on the needs of learners and effective learning strategies and approaches there is a need to identify and agree on the range of skills that should be acquired and on their development and application in a range of contexts there remains a concern regarding perceived overload in some National Curriculum subjects, especially at Key Stage 2 (covering ages 7-11), and the relevance of aspects of the curriculum to the 21st century and there is a need to ensure that a revised curriculum interests, engages and motivates all learners.28. Currently DELLS has submitted proposals to their Minister for Education and Lifelong Learning for approval. Following this, the proposals will be open to public consultation. These will include a rough drawing Skills Framework for children and young people aged 3-19. This framework contains the areas of Developing Thinking, Communication, Number and ICT. Within the Developing Thinking are strands highligh ting creative thinking. Creativity in Education (Developments in Scotland ) 29.In Scotland, a Creativity in Education Advisory Group was established to consider ways in which creativity could be developed as an important feature of the provision that teachers and schools make for young peoples education. The Group was chaired by Richard Coton, Headteacher of Monifieth High School and its members included representatives from Learning and Teaching Scotland, the IDES Network, HMIE and the Scottish Executive Education Department. The Groups discussion paper, Creativity in Education, was published in 2001. 30.The definition of creativity in Creativity in Education again reflects that in the NACCE report, All Our Futures, by emphasising imagination, pursuing a purpose, being original and making judgements of value. Creativity in Education, like the NACCE report, stresses the need to encourage auditionation and problem-solving together with reflection and critical appraisal as essential conditions for creativity to flourish in schools. Creativity in Education has a more overt emphasis on the need for schools to foster a personal disposition to be creative in their students.This involves the development of characteristics such as self-motivation, confidence, curiosity and flexibility. However, the publication notes the valuable contribution of group-working to encouraging creativity in, for instance, allowing pupils to build upon each others ideas. Creativity in Education also stresses the need for teachers themselves to be creative in the way they encourage and empower children and young people. Teachers need to judge carefully when to intervene and when to take a hands-off approach and to balance planning with improvisation.31. Creativity in Education was accompanied by case studies providing practical examples of how creativity is being developed across the curriculum. These include the development of a whole school policy on creative learning and teaching (Gyle muir Primary School, Edinburgh) developing creativity in Mathematics (Pollock Childrens Centre, Glasgow/Borgue Primary School, Dumfries and Galloway and Inverclyde Councils Education Advisory Service) and promoting thinking skills in the context of science education (Monifieth High School, Angus). 32.Follow-up work undertaken as a result of Creativity in Education included the Creativity Counts project. The aims of this project were To gather evidence of creativity in the classroom across all sectors and all areas of the curriculum. To identify key approaches to learning and teaching, assessment and evaluation. To identify what schools need to do to foster creativity. 27 schools from across Scotland (19 primary, 7 secondary and 1 special) participated in the project. A report of the findings was published in 2004. This was accompanied by Creativity Counts Portraits of Practice a publication of case studies drawn from the project.33. The main findings were that developing creativit y in education produced benefits in terms of pupil motivation, enthusiasm and enjoyment. The pupils became more independent in their learning rather than being told they became more resourceful and reflective. They became good at knowing what worked for them and what did not (p. 5). However, this freedom to experiment took place within a supporting structure of high expectations and clear outcomes They knew what they were expected to achieve and how to go about that (p.10).Group working was a truehearted feature of the projects. This helped to support less confident children and encouraged realistic peer and self-assessment. The pupils responded well to dealing with failure and built confidence in using their imagination and developed a positive attitude to new ideas. 34. Teachers found that they were able to develop a repertoire of teaching skills balancing intervention, hands-off, planning and improvisation. They identified four main characteri.

Good Communication Skills Are Essential for Teachers Essay

There ar many old School teachers that cogitation in our society, teaching children different subjects and skills whilst at school. These subjects consist of Maths, English, art, PE and History. The curriculum set by the board of information is essential so children can learn to read and write amongst other skills learnt so they may be able to as adults live and function productively in society. For students to learn these skills efficiently Early Primary school teachers admit to have good communication skills. The four key areas that good communication is compulsory is teaching students, interacting with parents, consulting with staff and behaviour management. Early Primary school Teachers need great communication skills to be able to teach children so they can learn to the best of their ability. Teachers will be teaching children who are in different levels of development and abilities. They need good communication skills verbally and physically to cater for the different ca pacities that children learn at, and cater their teaching styles to them. Teachers have goals and objectives they aim to achieve whilst teaching children in primary school. They need to be able to differentiate their teaching style whilst teaching a subject or military action the class is doing to cater for the different learning abilities. This needs to be communicated to the students in a simple , edify format both written and verbal . This enables students who have low attainment levels

Lorna Simpson: Manipulation of Spectatorship

Lorna Simpson is a highly recognized African-American artist who has expressed her creativity and skill through photography, and more recently, movies. She did her graduation in the School of ocular impostures in New York and her post graduation at the University of California in San Diego ( impostureFacts.net, 2007). Her work is jolly abstract and has a rattling subtle meaning. She usually uses literary elements such as metaphor, biography, portraiture and narration fin her work. Many of her works deal with concepts of mysteriousness and feminism (Armendi, 2001). Lorna Simpson became popular in the mid-1980s with her large surmount black and white photographic works of art that combined photo and schoolbookual matter in a novel elbow room.What is most characteristic ab show up her work is that she always makes the spectator study, self-reflect, and finally arrive at the meaning of the work. This gives the smasher the thrill of having solved a puzzle. In the words of Mari anne Kurylo-Litvak, Simpson manipulates spectatorship by utilizing the Brechtian method of distanciation that relies on audience participation through speculative insularity. (Kurylo-Litvak, 1998)General StyleLaura Simpson uses a technique ordinarily known as photo text, which combines figurative or nonfigurative photos and text. Usually, in the works of Lorna Simpson, the figures have their backs cancelled towards the dish. Even when it is not so, they do not make eye contact with the viewer. Her female figures argon barely dressed and do not follow evoke any open feelings as most figures in photography do. But the author in a manipulative manner uses these obscure figures as a screen to portray the discrimination in our society of the black woman.She presents them with a sort of curious detachment that can be seen in investigative films. Sometimes, she uses pieces of texts along with the mural-size huge black and white images that give but partial meaning to her work. The re st of the meaning has to be pieced together by the thinking viewer. More recently, in her work that is being exhibited at Sean Kelly, one finds that Simpson has also given up the use of the human figure. Instead, she presents empty, urban and natural settings. The emptiness of these works seems to express human loss and desire in a very effective and powerful manner (Heartney, 1995).One finds that most of the works of Lorna Simpson focus on sadness. The texts seem to run out about the emptiness and loneliness in urban life. The totally unknown places in the photographs seem to make up the emptiness of relationshions in urban settings. The lack of color and polish in the black and white photographs creates a sense of mystery and helps to dig out faded memories within the viewer. Simpson often removes the background or the faces of her subjects so that she can remove any kind of identity to the image (Morgan, 1990).The power of the artist in warp the viewer to her angle is give-up the ghost in the way she uses the black female body in her works. on that point is nothing much revealed about the model in the photographs. Even faces are hidden and this underlines in a subtle manner, the way black women have been seen across the ages as de-faced bodies. Again, Simpson uses fragmented bodies to indicate vulnerability and domination. The viewer can see only some part of the body such as the back of the head, or back of the body or an arm or a knee. This shows that the black women has never been fully portrayed to the extend that a viewer can understand her (Lorna Simpson for the sake of the viewer).Analysis of Specific Works on that point is The Car showing a narrow street that is stretching beyond and arch-covered pathway. Somehow the included text makes it clear to the viewer that the narrator must be sitting within the auto that is parked clearnly in the foreground. The words small cramped room within a room together with other text suggests that whitethornb e these random thoughts are coming to the author just before sex in the railway car (Heartney, 1995).There is a series of black-and-white photographs titled 9 Props, from each one of which focuses on a unmarried object in an empty room a solitary vase, cup or goblet. The text in each photograph refers to figures that are missing around these solitary objects. This allows the reader to understand that these images refer to before photographs by James Van Der Zee. Simpson, in a very fine and yet powerful manner indicates that the black middle class continues to be invisible.Lorna Simpsons photograph Waterbearer was reproduced in 1987. A black woman with cheap hair is seen fro the back, pouring water from a jug and a plastic bottle, one in each hand. The text included in the photograph says She saw him disappear by the river They asked her to tell what happened Only to give the sack her memory. While the figure of the woman is calm and lacks emotion, the language shows the emotio nal disturbance that this woman may be carrying. Here, Lorna Simpson allows the reader to consider the history of the black people and how the history can reveal subconsciously hidden memories. (Hooks, 1993).In 1989 Lorna Simpson made Guarded Conditions. It depicts a braided black woman in running(a) shoes. She is shown in three images with minor changes in her body position. This is then repeated in a sequent manner. The work seems to indicate the models changing notions of her own identity (Marshall, 1989). The position of the feet and hair are slightly rearranged in these images and in the middle row of photographs, the right hand alternately embraces, then caresses the remaining arm.Along with the photo, there is a rhythm of the words sex attacks skin attacks, which titles the prints. Guarded Conditions has been intellectually understand by various artists (Copeland, 2005). In a celestial latitude 1989 review, an art critic found a inter-group communication between a newspa per article reporting the brutal beating and rape of a black woman by two white securing guards and the work Guarded Conditions. Three years later, a curator wrote that this picture portrays a double-sided metonym of racial sufferance(Copeland, 2005).In his view, the isolated body of the woman invokes slave auctions, hospital examination rooms, and criminal line-ups, while the duplication of the turned-back figures calls up images of those women who stand guard against the evils of the world on the travel of black fundamentalist churches on Sunday mornings (Copeland, 2005)Stack of Diaries, 1993, portrays a black and white photo of a stack of diary books in the foreground tehre is a multileveled metal stand that holds stacked glass panels, with black-lettered text-fragments rendered in subtly distinct styles (bold script, italics, etc.) pressed into the glass. The different styles seem to imply the presence of different voices. The viewer is promote through these phrases to explo re why the writer of the diaries has so much confusion in identities.In xx Questions (A Sampler), Simpson shows a womans back, her features hidden and masked by a lush har that is long enough to cover her pick out revealing only the vulnerable shoulders and the upper back which is covered by a simple varicolored chemise. The questions included in the photo are Is she pretty as a picture Or clear as crystal Or pure as a lily Or Black as scorch Or sharp as a razor. Though the subject does not face the viewer, the viewer is forced to look at her judgmentally and the text is specifically aimed at encouraging the viewer to dig up recorded history and past experiences in his brain to come up with an answer (Lorna Simpson by Okwui). endpointOverall, one finds that Simpsons photo-text constructions are like puzzles inviting interested viewers to solve. There are clues provided by the text. mayhap the author was stifled in trying to express the subtle thoughts through text form. By inclu ding some(prenominal) picture and text in the imagery, Lorna Simpson grasps the viewers attention for a while, allows him to reflect on all affirmable meanings in the context of history and contemporary society and give unique interpretations that might also be based on his own personal experience. Her new works attract the viewer to dig out meanings that are hidden between symbolic pictures and fragments of text.Some people may accuse the author of allowing alike much freedom to the viewer in interpretation. However, it cannot be denied that her works invite the viewer to examine closely, think deeply and finally give directions to arrive at conclusions that orient the viewer towards her own opinion. This is the effective usage of spectatorship as found in Lorna Simpsons work of artBibliographyOnline SourcesMarshall, Peter (2007). More Work and Selected cogitate Guarded Conditions (1989). http//photography.about.com/cs/photographersaz/a/aa021604_2.htmArtFacts.net (2007). Lorna Simpson.http//www.artfacts.net/index.php/pageType/artistInfo/artist/2932Print JournalsCopeland, Huey (2005). Bye, Bye Black Girl Lorna Simpsons figurative retreat. Art Journal, Summer, 2005. http//www.findarticles.com/p/articles/mi_m0425/is_2_64/ai_n15338133Heartney, Eleanor (1995). Figuring absence Lorna Simpson, photography, Sean Kelly gallery, New York, New York. Art in America, December 1995. http//www.findarticles.com/p/articles/mi_m1248/is_n12_v83/ai_17860708Marianne Kurylo-Litvak, The Art of Lorna Simpson Challenging Preconceived Notions with Invisibility Imagery, thesis, Queens College, City University, 1998, 17.Decter, Joshua (1994). Lorna Simpson Josh Baer Gallery, New York, New York. ArtForum, January 1994. http//www.findarticles.com/p/articles/mi_m0268/is_n5_v32/ai_15143646Hooks, bell shape (1993).Lorna Simpson Waterbearer photograph. ArtForum. September 1993. http//www.findarticles.com/p/articles/mi_m0268/is_n1_v32/ai_14580117Morgan, Joan (1990). Lorna Simpson words of art photographer uses technique known as photo text. Essence, December 1990. http//www.findarticles.com/p/articles/mi_m1264/is_n8_v21/ai_9132098BooksSmith, Roberta (1990). Review/Art Linking Words and Images Explosively. The New York Times. July 20, 1990.Armendi, De Nicole (2001). Lorna Simpsons Public Sex Series The voyeuristical Presence and the Embodied Figures Absence. ATHANOR XIX. Rivellis Books. http//www.fsu.edu/arh/events/athanor/athxix/AthanorXIX_armendi.pdfLorna simpson by okwuiLorna simpson by for the sake of the viewer.Files usedSimpson-resourcepacket (Lorna Simpson by okwui)AthenorXIX_armendiArt_Journal_Summer_2005Lorna Simpson for the sake of the viewer