Friday, February 7, 2020

IDS Policy Essay Example | Topics and Well Written Essays - 500 words

IDS Policy - Essay Example These systems could be any workstation, server or other network peripherals such as a router. The IDS system runs as a service or a process and has the ability to detect the network traffic on the host system. To save the system from past threats a "threat signature" database is present to make sure that the system is not vulnerable to those threats. Microsoft, Cisco and Tripwire etc. are some of the companies that deal in these IDS systems. (Spafford, Zamboni, 2000) 2. Network Based IDS: These are systems that confine and analyze packets on the wire. Network based IDS are used to protect the entire systems on the network unlike Host base IDS which are built for a single system. After confining the packets on the network they send it to the IDS console for inspection. Major vendors include Cisco and Symantec. As Gem infosys is a small software company having just 10 PC's and a broadband connection should not face much difficulty with the IDS system. But sometimes IDS solutions can bring out bogus alarms that may result in incorrect distribution of information. Inadequate potential and bad configuration choices are the major factors for this kind of problem. On the other hand many products need to be kept updated and well managed to avoid problems such as well updated sensors. Proc

Wednesday, January 29, 2020

American jail Essay Example for Free

American jail Essay Prejudice is defined as â€Å"a partiality that prevents objective consideration of an issue (â€Å"Prejudice,† 2005). † A person may assume, for example, that all individuals suffering from AIDS are filthy and must be ignored; or all Africans are unintelligent. The Nazis had similarly supposed that all Jews are worthless and stupid, and therefore must be killed. As a matter of fact, prejudice can be based on gender, religions, cultures, geographical backgrounds, as well as race. Social psychologists define it as an attitude. It could be positive as well as negative. The positive type of prejudice is understood to result in the white privilege. It may also be directed at beautiful or rich people regardless of color. The negative attitude could similarly be directed at an individual or an entire society. Regardless, our attitudes known as prejudices are usually not founded in reason. People who foster prejudices normally believe that they are right to have negative attitudes toward certain individuals or groups of people. Such people justify their prejudices by offering various examples to show that they are right. A white man who has visited an American jail may say that he knows that all African Americans are bad people because most of the people in jail are African Americans. Racism – which is a form of a prejudice – thus intellectualizes the negative attitude of people toward people. Racism is actually defined as a belief system which states that individuals can be superior to others on the basis of race. This theory has led to much violence and genocide in the world. Still, most people have preconceived notions about other people with respect to their races. It takes a high level of education, perhaps, to believe in the essential equality of mankind. References Prejudice. (2005). WordNet: Princeton University Cognitive Science Lab.

Tuesday, January 21, 2020

Relationship between the Individual and Nature in The Open Boat :: Open Boat Essays

Relationship between the Individual and Nature in "The Open Boat"  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   From the beginning, the four characters in the aftermath of a shipwreck do not know "the colour of the sky" but all of them know "the colours of the sea."   This opening strongly suggests the symbolic situations in which human beings are located in the universe.   The sky personifies the mysterious, inconceivable cause of reality , which humans cannot understand, and the sea symbolizes the earthy, mundane phenomenon, which humans are supposed to perceive.   The symbolic picture generated by the above conflict implies the overall relationship between the individual and nature.  Ã‚   In fact, the daily life of human beings is at the mercy of the uncontrollable waves of the sea; while, at the same time, the essential part of reality remains unknown to feeble, helpless humans. The human voyage into life is basically feeble, vulnerable, uncontrollable.   Since the crew on a dangerous sea without hope are depicted as "the babes of the sea", it can be inferred that we are likely to be ignorant strangers in the universe.   In addition to the danger we face, we have to also overcome the new challenges of the waves in the daily life.   These waves are "most wrongfully and barbarously abrupt and tall", requiring "a new leap, and a leap."   Therefore, the incessant troubles arising from human conditions often bring about unpredictable crises as "shipwrecks are apropos of nothing."   The tiny "open boat", which characters desperately cling to, signifies the weak, helpless, and vulnerable conditions of human life since it is deprived of other protection due to the shipwreck.   The "open boat" also accentuates the "open suggestion of hopelessness" amid the wild waves of life.   The crew of the boat perceive their precarious fate as "preposterous" and "a bsurd" so much so that they can feel the "tragic" aspect and "coldness of the water."  Ã‚   At this point, the question of why they are forced to be "dragged away" and to "nibble the sacred cheese of life" raises a meaningful issue over life itself.   This pessimistic view of life reflects the helpless human condition as well as the limitation of human life. In line with the feeble and vulnerable portrait of human beings, nature is described as dangerous and uncontrollable on the one hand; beautiful on the other.   The tone of the waves is "thunderous and mighty" and the gulls are looked upon as "uncanny and sinister.

Monday, January 13, 2020

Clarice Lispector’s Women Characters Essay

I sat before my glass one day, And conjured up a vision bare, Unlike the aspects glad and gay, That erst were found reflected there- The vision of a woman, wild With more than womanly despair.[1] The Italian feminist writer Elsa Morante stated that: â€Å"One woman’s agony in her room is something so insignificant that it casts no shadow across the great universe†[2]. However true this might be, Clarice Lispector manages to give voice to her female character’s feelings in a such overwhelming way that the reader’s own universe cannot remain indifferent. Reading Lispector’s works, especially her short stories, is like plunging into an apparently innocuous moment of a woman’s life but rapidly and unavoidably be dragged into the unreachable depths and the darkest recesses of her psychology. It never turns out to be a merely pleasure trip. Influenced by existentialist authors, Lispector’s over-riding concern revolves around woman condition in its entirety[3]. It is a definitely complex and multi-faceted matter, which encompasses all the issues of the human condition exasperated by the womanhood’s burdens. Alongside with the unbearable awareness towards the absurdity of life and its revealed lack of meaning, the writer has to deal with the role of the women in a male oriented society, their existential sufferings and failures, the sense of relationships and isolation, their unfulfilled aspirations given up to conform to an imposed social scheme, the ideas of family and alienation, their forlorn hopes and submissiveness. The reader is prompted to ask himself: ‘to what extent is the woman allowed to be herself before becoming the objectification of somebody else’s aspirations?’ The concept of identity is therefore the pivot of all this speculation: Clarice explores the dynamics of self-discovery, the different and always traumatic ways in which her characters find or are forced to face their true authentic self and the conflict these achievements generate in their life. In this essay, I will pay close attention to the object of the mirror, a recurrent image in Lispector’s fiction, where it occupies a key role in the process of â€Å"autoconhecimento e expressà £o, contemplaà §Ãƒ £o e aà §Ãƒ £o, conhecimento das coisas e relaà §Ãƒ µes inter-subjetivas†[4]. In the consideration of this point, I will draw on the psychological theories that explained the phenomenon of visual self-identification, highlighting the correspondences in the behaviour of the woman characters. I will also refer to the literary criticism that handled with the Lispectorian â€Å"potà ªncia mà ¡gica do olhar†[5]. Then, I will focus on the range of feminine figures portrayed in Laà §os de famà ­lia, pointing out how they underwent the experience of self-awareness, what they have in common and where they are different. Finally, I will take into account Clarice’s short article â€Å"Espelho mà ¡gico†, which I found to be a particularly valu able contribution to this analysis and a sort of locking ring to this paper. Let’s start by considering the leitmotif of the mirror and the importance of sight. To try to unfold the copious polysemic connotations that the mirror bears, it is worth briefly considering it under a psychoanalytic point of view. Several are the currents that acknowledged the mirror to be one the most powerful tool in the process of the analysis and identification of the self. Jaques Lacan theorised the famous concept of the â€Å"mirror stage†: the child starts to identify with the reflection of itself, discerning the â€Å"I† in the mirror and the â€Å"I† outside the mirror. Along with OLTRE!!! The identification, however, comes the sense of alienation, due to the perception of the mirror image as an Other self. Experiencing this splitting, the subject keeps searching a constant confirmation of its identity from/by/in the confrontation with other people and objects. By the visual contacts, as a sort of multiplicity of mirrors, the sense of selfhood ca n be reinforced by returned gazes of recognition[6]. The idea that the people interacting with the subject act as mirrors for itself has also been substantiated by Charles Horton Cooley. He went further and advanced the social psychological concept of the looking-glass self, according to which ‘identity is created out of the tension between natural impulses that the individual must actively develop and the social structures that the individual must actively appropriate’[7]. He points out that there are three stages through which a person goes: she/he imagines how she must appear to others, she/he imagines the judgment of that appearance, she/he develops her/him self through the judgments of others[8]. But what happens when the social structures develop a diffused and subjugating system of judgements and bias that deeply interfere with the expression of the individual impulses? The result is deep manipulation of somebody’s own self, where self-denial tendencies usually prevail as a compromise between the two tensions. This is actually what happen to Clarice’s women characters. When they look in the mirror, they see (or glimpse) themselves how they truly are, but also how they are not allowed, or do not dare, to be. This social conditioning is clearly summarised by John Berger: ‘To be born a woman has been to be born, within an allotted and confined space, into the keeping of men. The social presence of woman has developed as a result of their ingenuity in living under such tutelage within such limited space. But this has been at the cost of a woman’s self being split into two. A woman must continually watch herself [†¦] because how she appears to others, and ultimately how she appears to men, is of crucial importance for what is normally thought of as the success of her life’[9] Bearing in mind these concepts, let’s now delve into the feminine universe of Laà §os de famà ­lia. The first aspects to remark is that Lispector’s characters are never stereotypical women. They cannot be enclosed in any womanly clichà ©, even if they share the same experiences and they sometimes seem to be facets of the same person. Clarice introduces the reader to different women, or again different stages in life of only one: daughter, adolescent, wife, mistress, mother, grandmother. Emotional detachment is one of the thing they have in common. They all show unsolvable inability to connect with others in a deep and meaningful way. Although being present and even physically close to their families, they are not emotionally present in the relationships. They dissociate, both experiencing emotional numbing, both restraining their own true feeling. Moreover, they do not find a reliable interlocutor in their partners or friends, because the image that the latter project on them is distorted and limited to the role they unconsciously or not impose on them. As previously illustrated, the achievement of self-identity requires an interchanging dialogical recognition between one I and one other that acknowledge that I as a whole[10]. Clarice’s women are left alone. Nevertheless, even when they seem to live the identity they have been given (therefore being self-denial), their true inner self, their real subjectivity suddenly bursts out. There is a kind of fil rouge that pools all the short stories: the narrative nucleus is represented by a moment of conflictive tension, an interior crisis, a rupture. At times, it is sufficient the most trifling event to trigger an epiphany, an instant of dramatic awareness. Everything that has been kept suppressed explode in a flood of thoughts, reminiscences and revelations. The body abruptly paralyses and time stands still: life is revealed, meaning is lost, the measure of identity and freedom are found. But understanding is a responsibility, and Clarice pushes her characters to their limits. They hang on the balance between stepping back or going beyond: utterly disoriented, they face the danger of living. Regarding this point, Professor Earl E. Fitz explains that: ‘they come to grips with themselves, with who and what they really are and, finally, react to this unexpectedly experienced flash of insight by either rejecting the â€Å"new self† that would emerge or by actually undertaking the creation of a new self, a new and authentic identity. [†¦] But the price of real freedom is always high and appears in Lispector’s fiction as the discomforting and solipsistic realisation that we are all alone, isolated in our solitude, and tormented by the need to communicate’[11]. Epiphanies, alienation and incommunicability show close affinities with the literary world depicted by Sartre and Camus. The encounter of the conscience with the reality, more specifically with the experience of the Absurd and the sense of meaningless of life, always generate unease in the protagonists. Even if Lispector has asserted that her naà ºsea is not the nausà ©e of Sartre[12], the epiphanic moments are associated with upsetting feelings: nausea and daze in Amor, anger in Feliz Aniversà ¡rio, hatred in O bà ºfalo, fear in Preciosidade, nausea and sadness in Devaneio e embriaguez duma rapariga ,nausea and derangement in Imitaà §Ãƒ £o da rosa. Moreover, Lispector’s characters experience these unconscious outburst via their sense of sight, similarly to Sartrian protagonists. In Amor, Ana’s reality suddenly falls apart with the simple view of a blind man chewing a chewing gum on the tram. The sudden braking of the tram is like a tug to her subconscious, the detonator of her repressed unhappiness and her existential in-satisfaction. The woman feels an emotional collapse, she is overwhelmed by nausea and compassion. A moment later, she feels emptied and alienated as she wanders through the Jardim Bà ´tanico. When she manages to get home, her husband takes her by the hand, â€Å"sem olhar para trà ¡s, afastando-a do perigo de viver†[13]. So she comes back to her previous existence, but she has now become aware that she loves her world with repugnance, loathing. She represents the women who are conscious of the fact that something essential is missing in their life, that what they are surrounded by is not what they really wanted, is not enough to fulfil them. At the end of the day she look at herself in the mirror, â€Å"por um instante sem nenhum mundo no coraà §Ãƒ £o. Antes de se deitar, como se apagasse uma vela, soprou a pequena flama do dia.†[14] The process is alike in O bà ºfalo. The unnamed protagonist is destroyed by unreciprocated love. ‘Eu te odeio, disse a mulher, muito depressa, a um homem que nà £o a amava. Mas a mulher sà ³ sabia amar e perdoar, e ‘se aquela mulher perdoasse mais uma vez, uma sà ³ vez que fosse, sua vida estaria perdida’. In order to bear the pain, she tries to learn how to hate by the wild nature of the animals. Wandering in a zoo, she encounters a buffalo (something close to the male sexual symbology). â€Å"Ela nà £o olhou a cara. [†¦] Olhou os seus olhos. E os olhos do bà ºfalo, os olhos olharam seus olhos†. The climax is achieved by the visual contact between their eyes. She feels so jarred that she faints. The condition of woman victim of love finds its catharsis in this epiphany closed to sexual ecstasy. Visual contact and self-perception take on another nuance in Preciosidade. The protagonist is an adolescent girl, who tries to avoid having anyone look at her. She feels she must protect an ambiguous preciousness she owns. Either it is referred to her virginity or simply to her being a girl, by eschewing male’s gazes she knows she will keep from becoming an objectification of their desire. More complex are the eye contacts in the short story Laà §os de famà ­lia. The title includes the emblematic essence of family relationships. The semantic ambivalence of laà §os can either be seen in a positive way, â€Å"love bonds†, or in a negative one, like â€Å"binding chains†. The protagonist Catarina and her mother epitomise this ambivalence, in living their strained relationship as a mother and as an adult daughter. Sentiments are no longer expressed, love mixes with hate, visual contact is unbearable. Waiting for the train to leave, the mother looks at herself in pocket mirror to fill the emptiness left by the lack of communication with Catarina. Once home, Catarina take a walk with her son, tying him to her in another noxious kind of love binding. Very important is the figure of the husband, left out, excluded. He need her, but awkwardly tries to exercise his apparent power to show off his role. Another strongly symbolic story is Imitaà §Ãƒ £o da rosa. The protagonist is Laura, a woman who experienced a rupture, both physical with a nervous breakdown, both social, not being able to adhere again at the role of wife she used to perform before her illness. The character is therefore divided between two attitudes: the â€Å"impersonal† woman, who tries to be obedient to the established pattern of being a wife, and the â€Å"personal† woman, that breaks the contract and the social expectation codes. Roberto Corrà ªa dos Santos[15] analyses the duplicity of Laura’s nature and the reflection it has on the relationship with her husband. Corrà ªa dos Santos divides her feelings and her behaviours in two moments: the â€Å"Tempo de obedià ªncia† and the â€Å"Tempo de ruptura†. During the â€Å"Tempo de obedià ªncia†, the attitude of her husband towards Laura shows a man â€Å"esquecido de sua mulher, em paz, recostado com bandono† whereas Laura is â€Å"submissa, atende o marido de braà §o dado, fala sobre coisas de mulheres†. During the â€Å"tempo de ruptura†, the husband turns out to be â€Å"cansado e perplexo, mudo de preocupaà §Ãƒ £o, tà ­mido, com um hà ¡lito infeliz†, while she becomes â€Å"super-humana, tranqà ¼ila em seu isolamento brilhante, como un barco tranqà ¼ilo, de perfeià §Ãƒ £o acordata†[16]. Like the example of Carlota’s husband, Laura’s husband metaphorically shrinks the more and more his wife finds her dimension of self-confidence. Fitz, E. Earl sums up: â€Å"Consistent with Lispector’s view that each of us fight a battle for control of the chaos that envelops us, she shows poignantly how the woman in the story is growing in terms of consciousness and self-understanding (tangled as this itself is) while the man with whom she is living [†¦] is stupidly and dully trapped in his own uninteresting view of reality, [†¦] dominated by the spurious â€Å"clarity† of his conventional thought, his socially prescribed clichà ©s and unoriginal thinking†[17] In addition to these considerations, it is relevant to stress that the concept of the mirror as fundamental tool in the process of self-perception has also been taken up by Clarice outside her fictional work. Espelho mà ¡gico is short article she wrote when she contributed to Dià ¡rio da Noite. It was published in 1960, in a culumn entitled â€Å"Sà ³ para mulheres†, which suggests a hidden feminine complicity that strengthens the message the author wants to conveyed: Nà £o à © sà ³ o espelho da madrasta de Branca de Neve que à © mà ¡gico. A verdade à © que todo espelho tem a mesma magia. [†¦] Vocà ª nà £o hà ¡ de perguntar: â€Å"Quem à © mais bela do que eu†. O melhor à © perguntar ao espelho: â€Å"Como posso ficar mais bela do que eu?† Eis os ingredientes para um espelho mà ¡gico: 1) um espelho propriamente dito, de preferà ªncia daqueles de corpo inteiro; 2) vocà ª mesma diante do espelho; 3) coragem. [†¦] Coragem para se ver, em vez de se imaginar. Sà ³ depois de se enxergar realmente, à © que vocà ª poderà ¡ comeà §ar a se imaginar. [†¦]Mas lembre-se: a imaginaà §Ãƒ £o sà ³ nos serve quando baseada na realidade. Seu â€Å"material de trabalho† à © a realidade a respeito de vocà ª mesma. Nà £o vou lhe dizer o que vocà ª deve fazer para melhorar de aparà ªncia. Nà £o tenho a pretensà £o de ensinar peixe a nadar. E sà ³ uma coisa à © que vocà ª nà £o sabe: que vocà ª sabe nadar. Quero dizer, se vocà ª tiver confianà §a em vocà ª mesma, descobrirà ¡ que sabe muito mais do que pensa. Mas, de qualquer modo, estarei aqui para ajudar a vocà ª a nà £o esquecer que sabe. Here, Clarice recurs to the archetype of the magic mirror in the fairy tale, positioning the question of identity in an apparently simple layer of interpretation. The strength of this passage, though, resides in the shifting of the cultural pattern of the identification of the self: the answer is not any more given by the mirror, but acknowledged directly by the person who mirrors herself. Who is answering is indeed the same woman who asked, providing herself with the true measure of her renewed â€Å"I† descried alone, without the need of something (or somebody) else who sees her from the outside. This is the new espelho mà ¡gico Clarice hopes for, where the magic comes from the other side on the glass: the person. More than an article, it becomes a suggestion, an exhortation. It takes some efforts, some coragem para se ver, se enxergar, but this is necessary in order to build a new parameter for the individual existence, a new pattern of legitimisation of the self. It is the only way for women to ged rid of the old and tight social and cultural paradigms and to confront themselves with new references based on their quotidian choices and prerogatives. A new perspective is offered, where beauty stops being a primary attribute and leaves its place to self-confidence and fortitude. This new woman holds in her hands a â€Å"material de trabalho†, the realidade a respeito de si mesma. She could represent a new possible social feminine figure, who believes in her capability to promote a change and to be in charge of her own destiny. While in her stories she often left her characters helpless and powerless in front of their mirrors, in the real world Clarice let this mirror become a threshold towards a higher dimension, like an open portal in front of the woman. The article end is contract-like: women will try to operate this transformation and the author will watch over her, with her novels and stories. For the aforementioned reasons, there is no doubt that Lispector’s fictional universe is as wide and deep as the themes it deals with. To understand how her complex feminine characters perceive themselves, it is necessary to take into account the issue of the human condition in its entirety, applied to the point of view of women. Nonetheless, every story she wrote encompasses a multitude of smaller senses and significances, so that more than one reading is needed in order to disclose all of them. Every reader can easily agree with Hà ©là ¨ne Cixous, who stated that: â€Å"Clarice’s text, like Kafka’s, are not narratives. They contain a secret, a lesson. But this secret and this lesson are dispersed in the verbal space in such a way that the meaning cannot be apprehended at a first reading.†[18] Psychoanalytic perspective helps to explain her literary explorations of the question of identity, the importance of sight, and the self-perception her characters achieve in their reflection in the mirror or in someone else’s eyes. The in-depth analysis of the women in Laà §os de famà ­lia also provides a comprehensive picture of Clarice’s profound sensibility and complex psychology. The plot, the setting, the description of the characters and their relational dynamics epitomises Lispectorian imaginary. As far as the mirror is concerned, it undoubtedly hold an important position in Clarice’s symbolism and recurs also in her non-fictional works. The article Espelho mà ¡gico represents a significant contribution in the comprehension of her Weltanschauung, and creates a concrete link between her imaginative world and the tangible reality. ———————– [1] Mary Elizabeth Coleridge The Other Side of a Mirror, 1896 [2] Elsa Morante, Arturo’s Island, p. 187 [3] Lispector does not actually represent all women in her text, but she rather focuses on the ones she belongs to and presumably knows the most: the middle-class white urban women. With the expression â€Å"woman condition in its entirety† I mean the whole range of feminine experiences a given woman can go through during her life. [4] Nunes, Benedito, Clarice Lispector. Sà £o Paulo: Edià §Ãƒ µes Quà ­ron, 1973 p. 95 [5] Ibid, p. 95 [6] Lacan, Jaques, The Four Fundamental Concepts of Psychoanalysis. London: Penguin. 1994 p 70-72 [7] Cooley, Charles H. On Self and Social Organization. Chicago: University of Chicago Press, 1998 p 20 [8] Cooley, Charles H. Human Nature and the Social Order. New York: Scribner’s, 1902. pp. 183-184 [9] Berger, John, Ways of Seeing. London: Penguin, 1972 [10] See also: Psychology of Self. Kohut, Heinz The Analysis of the Self. New York: International Universities Press, 1971 [11] Fitz, E. Earl Clarice Lispector. Boston: Twayne Publishers, 1985, p. 48 [12] Lowe, Elizabeth. The Passion According to C.L.: Elizabeth Lowe interviews Clarice Lispector. Review, 24: p 36 [13] Lispector, Clarice, Laà §os de Famà ­lia. Rio de Janeiro: Livraria Josà © Olympio Editora S.A., 1976 p 24 [14] Ibid, p 26 [15] Corrà ªa dos Santos, Roberto Lendo Clarice Lispector. Sà £o Paulo: Atual Editora LTDA, 1986 p. 21 [16] Lispector, Clarice, Laà §os de Famà ­lia. Rio de Janeiro: Livraria Josà © Olympio Editora S.A., 1976 p 36-40 [17] Fitz, E. Earl Clarice Lispector. Boston: Twayne Publishers, 1985, p. 44 [18] Cixous, Hà ©là ¨ne, Reading with Clarice Lispector. Trans. By Verena Andermatt Conley. London: Harvester Wheatsheaf, 1990 p 98

Saturday, January 4, 2020

The Untold Story Of Americas Largest Slave Revolt

â€Å"The Untold Story of Americas Largest Slave Revolt†, published in 2012, in Harper Collins Publishers, written by Daniel Rasmussen. A story in which it has been neglected through time. From the beginning to the end in 1803 to 1860. A few courageous men stood up against slavery to attempt the largest revolt in U.S. history. Fighting for justice and a chance of freedom. But the other side attempts to prevent to clear what happened from history and to prevent any other slave retaliations. Rasmussen’s history can be broken down easily for the readers’ attention. From the beginning, first explaining of New Orleans being on point with its commercial farming zones and the upper hand in the Atlantic slave trade. The untold stories on how and where these conspiracies began to spark an uprising. Second, the battling for death or for freedom, the slave did know this, so it was a point of no return when initiated. How tactics were used and how it began to where an army was built to clear its own path in history. Third, how French planters intended to clear up the history of the revolt so that it would not have enough breathing room to spark another uprising in the future. In the eighteenth Century, â€Å"Slave owners expanded their hold on the North American Continent, churning through new land and bringing slaves from the older states to the newer, through a vast new domestic slave trade,† (Rasmussen, 2015 pg. 186) which would become the nation’s top state in the slave trade. At timesShow MoreRelated Neocolonialism in Jamaica Essay6862 Words   |  28 Pageshis environment to supply slave labor upon which his owner’s dream of wealth depended† (Manley, 1975: 12). In 1494 Christopher Columbus arrived on the island to be followed by his son, Diego, in 1509. Diego Columbus sent a delegation to the island thus supporting Spanish control in Jamaica until 1660. During the reign of the Spanish the colonizers managed to wipe out the entire population of native Arawaks, comprised of 60,000 people. The Spanish had imported some slaves from Africa during thisRead MoreOfw Remittances- an Economic Booster10937 Words   |  44 Pagessites and remitting money back to ones loved ones through the World Wide Web. The United States of America followed by Saudi Arabia and then by Germany has the highest volume of outgoing remittances. Net Receivers are the companies that have an incoming remittance greater than an outgoing remittance. The countries of India and Mexico, are leading the list of net receivers. The United States of America has sent about two hundred and thirty billion dollars worth remittance to countries all over the WorldRead MoreOne Significan t Change That Has Occurred in the World Between 1900 and 2005. Explain the Impact This Change Has Made on Our Lives and Why It Is an Important Change.163893 Words   |  656 PagesPaula Hamilton and Linda Shopes, eds., Oral History and Public Memories Tiffany Ruby Patterson, Zora Neale Hurston and a History of Southern Life Lisa M. Fine, The Story of Reo Joe: Work, Kin, and Community in Autotown, U.S.A. Van Gosse and Richard Moser, eds., The World the Sixties Made: Politics and Culture in Recent America Joanne Meyerowitz, ed., History and September 11th John McMillian and Paul Buhle, eds., The New Left Revisited David M. Scobey, Empire City: The Making and Meaning

Friday, December 27, 2019

Teaching Vocabulary - 8385 Words

Contents INTRODUCTION 3 Chapter One 5 Methods of Teaching Foreign Language 5 Chapter Two 8 Teaching Vocabulary 8 Textbook analysis†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.....................20 CONCLUSION ...22 INTRODUCTION It seems almost impossible to overstate the power of words; they literally have changed and will continue to change the course of world history. Perhaps the greatest tools we can give students for succeeding, not only in their education but more generally in life, is a large, rich vocabulary and the skills for using those words. Our ability to function in today’s complex social and economic world is mightily affected by our language skills and word†¦show more content†¦Another way is to derive a word meaning with the help of 4 steps. And the last but not least way of learning vocabulary is through a word play. This is the most efficient and from the students’ point of view most enjoyable way. Vocabulary learning should be closely connected with dictionaries. We will give examples how students can use them. In the vocabulary learning process the role of remembering is also important. Here we will define short-term store, working memory and long-term memor y. To sum up this chapter we will discuss some factors in the language system, which make some words difficult to learn. In this chapter we will make the textbook analysis of the 5th grade, finding all the exercises based on vocabulary and trying to find the strong and weak points of this book. Chapter One â€Å"Methods of Teaching Foreign Language† While referring to our main topic Teaching Vocabulary, it is worth mentioning the main methods of the past century in the field of teaching foreign languages. By saying method we mean the set of procedures which teachers follow in the classroom to achieve linguistic objectives. Primarily they are concerned with teacher and student roles and behaviors and secondarily with linguistic and subject matter objectives and materials. Methods of foreign language teaching are closely related to sciences such as psychology,Show MoreRelatedImplicit Versus Explicit Vocabulary Teaching Practices2374 Words   |  10 PagesExplicit Vocabulary Teaching Practices Sarah Sherman Bridgewater State University Abstract This study examines the teaching methods of individuals who provide English instruction to speakers of other languages. 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Some language studentsRead MoreStudent-Centered Activities for Teaching Vocabulary3573 Words   |  15 PagesApplied Foreign Languages English Methodology Student-Centered Activities for Teaching Vocabulary Student: Emilija Georgievska Academic Supervisor: Senior Lecturer Iskra Stamenkoska, MA December, 2012 Skopje Table of contents Introduction†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.3 Useful Student-Centered Vocabulary Strategies and Activities†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦......................4 Applying the Suggested Strategies and Activities at Upper-Intermediate EnglishRead MoreTeaching and Learning Language: Grammar and Vocabulary900 Words   |  4 PagesTeaching and Learning Language: Grammar and Vocabulary This essay will focus on the subject of learning and teaching languages. More specifically it will deal with two different, but intrinsically related topics. The first topic investigates the deductive and the inductive approaches to teaching grammar, and the positive and negative aspects of them both. The deductive approach is the more teacher-centered approach, where the teacher explains rules and so forth to the students, while the inductiveRead MoreTeaching English Vocabulary Using Games4620 Words   |  19 Pages | |For Vocabulary Presentation and Revision | | | |by Agnieszka Uberman | | | | |Vocabulary acquisition is increasingly viewed as crucial to language acquisition. | | | | | |However, there is much disagreement as to the effectiveness of different approaches for | | | | | |presenting vocabulary items. MoreoverRead MoreTeaching Vocabulary to Young English Learners3602 Words   |  15 PagesTeaching English vocabulary to young learners A crucial component of learning a foreign language is the acquisition of vocabulary. 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Theref ore, this research was designedRead MoreTeaching Vocabulary For Children Learning2835 Words   |  12 Pages ELLs and Vocabulary Erica Villarreal Concordia University Educational Research 5305 Dr. D. Hastings â€Æ' TABLE OF CONTENTS Chapter One: Introduction...............................................................................................................3 Purpose Statement..................................................................................................4 Chapter Two: Literature Review..........................................................................Read MoreA Research Study On Teaching Vocabulary Essay802 Words   |  4 Pagesin words that begin with it. I have been applying my own practitioner’s insights on the compositionality of phonaesthemes in teaching vocabulary. As it received great feedback, I realized that it would have greater pedagogical value if it maturated more theoretically. The research is to raise the importance of the compositionality and systematicity internal of vocabulary by looking at specifically how phonaestheme is constructed. Before the rekindled research interest on phonaesthemes after Firth’sRead MoreLearning and Teaching Vocabulary for a Second Language751 Words   |  4 Pagespeople studying and teaching it, but is there one way of teaching a language that is the right way? There are many aspects to learn a language, for the sake of the assignment I have been appointed only one aspect namely: Learning and teaching vocabulary. In this report I will be comparing my views on teaching with those of an experienced teacher ,a learner and three experts, using: Concept maps, interviews and pre-assigned articles. I’ll explore a little of second language vocabulary acquisition, theories

Thursday, December 19, 2019

Answer 4 Questions About Jazz Music Example

Essays on Answer 4 Questions About Jazz Music Coursework Jazz Music Q Styles of Jazz Music Bebop Jazz It developed in the early 1940’s and established itself as vogue by 1945 (A Passion for Jazz, p1). Its main innovators were Miles Davis, Dizzy Gillespie, and Chalie Parker. Bebop is characterized by fast tempo, instrumental ability, and improvisation based on the amalgamation of harmonic structure and reference to the melody. Bebop soloists engage in harmonic improvisation and often avoid the melody after the first chorusCool JazzIt evolved directly from Bop in the late 1940’s and 1950’s (A Passion for Jazz, p1). It smoothed out the mixture of Swing and Bop tones. Miles pioneered cool music, and it softened the dynamics of bebop music. The cool jazz is characterized by relaxed tempos and lighter tone.Classic JazzClassic Jazz also known as Orleans style originated with brass bands that performed for dances and parties in the late 1800’s (A Passion for Jazz, p1). Classic music is solo oriented. The classic style i ncorporates captions of Ragtime with adaptations of melodies, blues, and hymns. David Miles recorded Kind of Blue, classic music (Luce 1).Hot JazzIn hot jazz, improvised solos characterize the music with melodic structure built up to an emotional and ‘hot’ climax. In the rhythm section, there is bass, banjo, drums with high tempo. Miles pioneered the style, as most of his songs were high (Luce 1)..Hard BopIt is an extension of Bebop, which was interrupted by the cool sounds. Hard Bop melodies are soulful than Bebop. The rhythm section of hard bop is more sophisticated, and it is also known as the funky jazz.Q.3Cool jazz is less dense or more spacious. It relies on modern rhythms, for instance, Bossa Nova and rock. It employs less improvisation and has low tempo (A Passion for Jazz, p1). Cool jazz musicians include Monty Budwig, Larry Bunker, Sarah Vaughan, and Gerry Mulligan. However, hard bop is denser, has high tempo, and involves more improvisation. The hard bop musi cians include Miles Davis, Art Blakey, John Coltrane, and Horace Silver among others.Hard bop music majored on the African American identity. Racism and discrimination resulted in opposition of the white’s cool music. The African-American innovated hard bop music to fight for their civil rights and recognition in the American economy. Poverty resulted in the musical differences. Cool jazz was regarded as music for the rich or the whites. Therefore, the poor Africans retaliated by singing hard-bop to demonstrate their dissatisfaction with political, social and economic climate at that time.Works CitedA Passion for Jazz. Styles of Jazz Music, 2015. Web. May 27, 2015 Luce, Jim. â€Å"Jazz Profiles from NPR Miles Davis: Miles’ Styles.† NPR. 2015. Web. May 27, 2015