Johnny Cash’s Drug Addition And The Effects It Had On His Family Essays

Johnny Cash’s Drug Addition And The Effects It Had On His Family Essays Johnny Cash’s Drug Addition And The Effects It Had On His Family Paper Johnny Cash’s Drug Addition And The Effects It Had On His Family Paper In Johnny Cash’s book, Cash, he describes his addition to prescription pills. It was scary to read that his addition started at such a young age, with the morphine he was given to relieve pain. His trail of thoughts ended up in thinking that this is the best thing ever. My reaction to this is rather sad and confused. Not everyone who takes morphine for pain sinks into this trail of thought. I am left wondering if this was just something in his mind, something that made him think it was more pleasurable than other people. That frame of mind seems to be what lead to the addiction. Johnny Cash seem to be ok with what he was doing, not realizing the damages he had on his family. He’d neglect his daughters and then his wife. He was being so rude just doing whatever he wanted and not really listening to those that cared for him the most. I kept thinking, if you weren’t even going to listen to the people who care about you the most, whom would he ever listen to? It would be hard to try to tell someone not to do something to himself, and just see him doing it anyway. As the time went on, it seemed that Johnny Cash didn’t realize how self-destructive he was. He wouldn’t listen to those around him and assumed he could handle it, he basically showed some weak character traits based on how he would ignore or excuse his behavior. I was amazed he could so smugly just walk away from a fire just to go fishing, not even bothering trying to put it out or tell anyone so they could put it out. He just let it all burn away without caring, and pathetically didn’t care. His family suffered with a lack of Johnny Cash being around. They wanted his attention and he ignored those pleas. I felt worried through the story or them, like I expected him to eventually listen to them. They worried and tried hard to stick by him, even when he was pushing them away. It seemed like he didn’t care. The pills were more important. It didn’t seem like he was in control at all of his emotions or had any control over how many he took. It was this destructive attitude that hurt the most to his family and caused some lasting damages. As the story progressed, and he did more dangerous things and kept getting wilder, it became clear how out of control he was. His attitude toward life and those around him were sickening. With so many people watching him, one would assume he would change his mind about what he was doing. It started to sound like it wasn’t fun any more to him to take the pills, but he kept doing it, which is rather confusing. It really seemed like it was his own inner spiritual awakening, which it was inside himself that was what he needed to see what he was doing. I think it proved the only real way to beat addition is something inside you. The outside influence of his family helped in the long run in a minor way, but it took a lot to shake the idea of what he was doing was ok. So it was some switch inside of people that might be what changes people. The destruction he did to his family is scary, though, and something no one should go through. Johnny Cash’s addiction deeply impacted his family and nearly destroyed the relationships he had created with them. To do that to your family just shows you wouldn’t care about them at all, and think about yourself the most. References Carr, P. , Cash, J. (1998) Cash: The Autobiography. 1998. HarperCollins.

Fibre-reinforced plastic Coursework Example | Topics and Well Written Essays - 1500 words

Fibre-reinforced plastic - Coursework Example The aerospace, marine, construction and automotive industries are the most frequent users of FRPs. Traditional firms that supply carbon are Cytec, Toray, Hexcel, Formosa Plastics, SGL Group and Mitsubishi Rayon (Vasile, 2002, p.22). FRP composite materials that occur naturally are made from two or even more constituent materials. These component materials usually have differing chemical and physical properties, and they include resins and fibres (ngcc). They remain distinct and separate in the finished product to form the components of the FRP. Most of these composites have stiff and strong fibres in a matrix that is less stiff and weaker. The objective of this is to ensure that the final product is stiff and strong but with a very low density. In particular cases, contractors prefer thermoplastic polymers, which are mouldable after the final production. There has been the development of newer and more advanced forms of ERPs. Some of these improvements include more modern reinforceme nt styles such as nanoparticles and carbon nanotubes and development of high-performance resin systems. Fibre reinforced polymer components have become necessary substitutes or enhancements for development in infrastructure and structures typically constructed using traditional engineering materials, which include steel and concrete. FRP components are non-corrosive, lightweight and exhibit particular high strengths (Starr, 1999, p.34). Traditional firms that supply carbon are Cytec, Toray, Hexcel, Formosa Plastics.

Importance of play in the speech and language therapy Assignment

Importance of play in the speech and language therapy - Assignment Example In my opinion, the members of administration team simply do not understand the importance of play in the children’s development and I believe such actions will highly affect our department. Playing is one of the activities that young children often spend the better part of their time doing during the day and it is therefore important to appreciate the significance and impact of playing on the learning and development of children (Pellegrini, 278). First and foremost children often use play to experiment and explore new things as well as use words to express their thoughts and ideas during play. As children grow and become more sophisticated in their play skills, their language development may equally advance. Children use language during play to solve problems and to communicate their desires. During play, children are normally provided with opportunities for social interaction with their peers and therefore learn to express and control their emotions using language. Speech an d language learning is an ongoing process that takes place all day long particularly during the children’s everyday activities such as playing. During such activities, children usually significantly enhance their communication and language skills in a very indirect way. Additionally play materials that allow children with language problems to play imitative and repetitive games may also them to acquire important skills such as those of listening and attention which are necessary for their speech and language development. According to many speech and language experts, play is one of the most effective and natural ways of encouraging the development of speech and language skills in children. This is particularly because small children usually learn many skills such as listening, attention, sharing, building sentences and imagination through play. Another important reason why it is critically for the hospital administration not to affect any budget cut on the play materials in m y department is that play helps the children to develop their concentration ability. For example playing children not only focus on objects and people but they also listen and learn a lot of new names and words and this is necessary for their communication development. Apart from speech and language development, playing also help children to learn about cultural expectations and norms, discover the world around them and learn how to negotiate their ways in their surroundings. Play also support development and learning of children in a number of ways. Recent research suggests that sufficient play not only enhances growth and enrichment of children but their active participation also facilitates control and mastery leading to feelings of self efficacy and competence. On the other hand, play also encourages children to take turns and this is also important because individuals often take turns to speak and listen during normal conversations. Play enhances confidence in children while ex pressing themselves and through this the child develops the art of; listening and attention, naming, building sentences and understanding. In order to learn a language, children need both to hear and see signs. This is why most of the play materials designed for children are usually labeled and described to enable them to make connection between the objects and the words and eventually learn to use such words. Children need very many playing materials and the proposed budget cuts may potentially affect their learning abilities. Right from birth babies should get sufficient playing materials such as dolls,

Healthy College Cafeteria Assignment Example | Topics and Well Written Essays - 750 words

Healthy College Cafeteria - Assignment Example Eating healthy is made more difficult by the lack of available healthier foods in college canteens yet due to the economic restraints and busy lifestyles of students, the college canteen is often the main place that students eat. There is a responsibility from our educational institutions to focus on providing healthy , nutritious , reasonably priced foods that ensure that students have healthy eating options. In the UK, celebrity chef Jamie Oliver has become notorious for his scathing attacks on the food served in schools. A ten part TV series released in 2005 based in a school, exposed exactly the type of food that was being served (processed food that is high in sugar and fat) and the negative effects on health. His pioneering work has since continued, urging schools to use natural ingredients, local and organic produce and serve well balanced meals. He has also succeeded in getting councils to sponsor "a ten-year strategic plan and fund a long-term public campaign to get people back on to a proper diet and empower/persuade (and possibly scare, if needed) the public to make better choices." (My Manifesto) Awareness Raising; Any significant change in the food served in the college canteens should also go hand in hand with a college funded awareness raising project. This has taken place in a number of colleges already in the UK and US2 and could provide students with ideas, recipes and information about the nutritional and health values of the food that they eat. Consultation with the students; In making a shift to providing healthier foods for students it is important that they are consulted in order to ascertain what health foods would be popular. By running a consultation information can be gathered to help design the new menus. Skills gap; To provide healthy and nutritious food using natural ingredients can often mean that those working on the cafeteria need proper training in food production. Training should be offered to cafeteria staff and their wages should reflect the potential increase in work hours caused by preparing meals with fresh ingredients. Sourcing Organic Foods; Organic foods can appear to be more expensive but often when they are brought in bulk the price goes down significantly. Maybe joining up with other educational institutions in the area to make joint food orders with or looking for sponsorship for the college's healthy food project could ensure that prices stay affordable yet the quality goes up. Sourcing Local Foods; While the food might not be organic, buying food from local producers assures a number of things. It boosts the local economy, it is often cheaper for the buyer as the 'middle person' ( in this case the food distributor) is cut out. Regular orders and establishing a good relationship mean producers listen to their buyers and could in the future ( for example) reduce use of pesticides and fertilizers Sourcing Fair Trade Products; Fair trade products are often organic and produced by co-operatives therefore ensuring the best price for the farmer. By purchasing these products the college not only supports farmers in the developing world but also indirectly educates students about just and sustainable farming methods and food distribution. Environment; Reduce, Reuse, Recycle, As well as looking after our own

Differnent types of document creating software Essay Example for Free

Differnent types of document creating software Essay Layering – when within the same file you place images stacked on top of each other   Template- a standard document with pre-set layouts and formats.   Justification – adding extra spaces to text to align the edges so that the lines begin / end at the same place on a page . You can left / right / centre / fully justified   Orientation – which way the page is orientated – landscape or portrait   Wizard- a user interface which presents the user with a sequence of dialogue boxes which guide the user through the task .    Font style- a set of printable /displayable text character/s in a specific style and size. Footer – an area set aside at the bottom of each page   Mail merge – a word processing feature that allows users to personalise letters with names/addresses from a database   Web-authoring software – a web authoring package that is designed to allow you to create web pages and web sites   Resizing – alter the size of an image   Rotating – moving   Shearing – putting two images together to make an optical illusion Cropping – removing parts you don’t want Editing- changing or correcting 5 features of a PPT that could NOT be used in a written report 1. Audio 2. Images. 3. Sound 4. Colours 5. Animations Spell check is used to highlight incorrect spellings so they can be corrected . Compares words entered with words in a dictionary. After spell check the documents like needs to be proof-read because even if the spellings are right , the sentence may not make sense. 3 features of web authoring software you could use to create a website   Creating headings and subheadings   Inserting links Views – standard (similar to word processor screen) , code view (HTML) , Split view (Both views) Ways to transfer images from a database to a website: Copy and pasting   Importing CAD – stands for Computer aided design . It is the use of technology for designs . It is usually used by architects . Buildings can be designed using it. CAD advantages:   You can be more accurate than hand drawing   You can save/ edit ideas so it’s easier/cheaper to modify   You can edit existing ideas which saves time. Describe 3 features of DTP software that could be used when designing a leaflet: 1. Text- can be styled using fonts and colours 2. Background colours- can be changed for blocks of text/images. 3. Page layout templates- each page can have the same layout. Describe 3 features of a website that enable customers to purchase goods online: There’s a shopping cart where you can add all your items and there’s a total sum   There’s an option to set up an account this is so returning customers do not need to re-enter information   Between the retailers website and the bank the payment is made , the data is encrypted. Describe 5 features of word-processing software you might use to make the information clearer   text wrapping – the text can be arranged an image so it’s easier to read. Bold   Italics   Underlining text   Colours Web 2. 0 is the point at which the Internet became truly interactive, with users becoming the most important component of many sites. This benefits as they are able to get Greater knowledge and better marketing. Applications that use this are RSS and Twitter. Describe how you can use ICT to create and use charts when presenting data from a spreadsheet. You can enter all your information into an excel document with all the headings along the top and the information in rows below. Then you select all the cells containing information and go to â€Å"insert† and then select the chart you want. Once the chart has been added in you can go to â€Å"chart design† and modify the chart . What is the most suitable type of software for each of these task:   Write a letter to customers word processing software   Create a leaflet about tennis lessons- DTP   Create a web page that allows customers to place orders online- Web Authoring Software   Editing digital images – graphics software   Storing student’s details- Data handling software Present information to sales staff – presentation software   Produce a mail-merged series of letters – Database CAM- Computer aided design is a software used by engineers and architects to control machine tools in the manufacturing of work pieces. You can create a precise drawing on CAD and then make that 2D design physical by using CAM to make the object. Show preview only The above preview is unformatted text This student written piece of work is one of many that can be found in our GCSE Communications section.

Discipline-Based Art Education Curriculum

Discipline-Based Art Education Curriculum The discipline-based art education program relies on several different curriculum theories. At times, the theories overlap and contradict each other, which is a reason why the DBAE has endured much criticism, as well as praise since its inception. The focus of this paper is to connect the theories to the four disciplines of DBAE by using the readings from EDU-707, Curriculum Theory, and Research. Introduction The aims of the discipline-based art education are to provide art educators with a curriculum that is equal in vigor as the core curriculum subjects. Noddings (2003) would conclude that the DBAE curriculum, which parallels with core subjects, is rationalized through planned objectives and goals. Constructing a school curriculum, or a set of courses, must begin with a purpose or at least knowing the answer to why is this important to teach and learn? Eisner (1967) states, if one is to build curriculum in a rational way, the clarity of premise, end or starting point, would appear paramount (p. 250). In the early 1900s, school curriculum was questioned and mainly because of the changes that were taking place in society. There was a tremendous growth in popular journalism, the rapid advancement of railroads, and the migration of people from a predominately rural base moving into more urban locations (Kliebard, 2004). The industrial revolution was replacing the farm-based way of life and students needed a different type of education to help society in the future. The purpose of education is summed up neatly by Bobbitt who states, [Education is] the function of training every citizen, man or woman, not for knowledge about citizenship, but for proficiency in citizenship (Flinders Thornton, 2004a, p. 11). Additionally, Eisner (2001), DBAE founder and Stanford University Professor of Education and Art, offers, the function of schooling is not to enable students to do better in school. The function of schooling is to enable students to do better in life (p. 369). The DBAE curriculum is shaped by connecting different and at times conflicting beliefs. Few can argue that the main purpose of DBAE is to offer teachers a theoretical framework for learning and teaching the arts (Patchen, 1996). However, the foundations of DBAE have been under constant scrutiny since its inception. The criticism focused around being too prescriptive, eliminating individual creativity, and not representing all cultures. The differing analysis from academic experts is likely because the arts require a novel or creative response. Therefore, developing the particular behaviors needed for students to be successful it is hard to identify (Eisner). Another factor in the construction of the DBAE is how the world viewed art education in the 1960s. During prior decades art was influenced by national and political issues reflecting on post-war thinking. The approach was a belief of independence and democratic personality, which shaped art activities (Freedman, 1987). Therefore, the DBAE creators found a necessity for a disciplined approach. By definition, the term discipline means a field of study, as well as gaining control by enforcing the order. Both descriptions of discipline imply a set of parameters. Setting restrictions on instruction is designed to help teachers uniformly teach art education, which includes a responsibility of providing foundational knowledge. Art teaching in DBAE focuses on four disciplines: art production, art history, art criticism, and art aesthetics. Art Production Art production is students learning skills and techniques to produce personal, original artwork. This change signifies a different model from one of creative self-expression which had controlled art education throughout the previous decades and one in which Greene (1995) would contend that to be yourself is to be in process of creating a self, an identity (p. 20). Greene is certainly an advocate for individualism, creativity, and an awareness of oneself. However, the creators of the DBAE saw creativity through the lens of an essentialist. The orientation of an essentialist classroom should revolve around the teacher. The teacher should also be the model to which students should try to emulate. If the teacher is the focus of an essentialist classroom, Counts (Flinders Thornton, 2004c) believes that they should take the next step and reach for the power and help construct the curriculum. The DBAE founders value the art product by using known exemplary works of art and treat art as a p rocess moving from the outside inward. The founders contend that students view aspects of the exemplary as a process of discovery about responding, understanding, and thus creating. There is a flaw in this methodology because which of the many different societies have excellent pieces of art for students to follow? Kliebard (2004) suggests that what a society values and incorporates it into the curriculum is tough because it cannot take into account the different segments of society and what they feel is worthy of study. The emphasis of DBAE art production is for students to create art physically. The problem for teachers lies with assessing students levels of achievement in their art creation. Eisner (2001) proposes that creating standards and the measures of performance help teachers and school administrators to be accountable. Dweck (2000) offers that there are two different types of goals to assess; one is a performance goal or how well students completed the assignment and the second is a learning goal, which assesses what the student learned while creating. In an ideal setting, educators should strive to evaluate both performance and learning goals. An assessable performance goal in a DBAE classroom is the students demonstration of proper techniques used in the exemplary pieces to create a new work of art. Because art instruction uses exemplary work, teachers can assess the performance of a student who is developing intuition and reasoning behind why a piece is considered exemplary. Assessing a learning goal is more difficult because of individual experiences. Sumara and Davis (1999) suggest learning is an act of (re) cognition, meaning that people who see things for the first time helps them make meaning to what they already know. Conversely, Greene (1995) offers that students have to develop their imagination for learning to take place. Depending on a students previous experiences, an art teacher using the DBAE approach would need to create individualized rubrics to assess learning. Furthermore, a student self-reflection would be of great benefit to the assessment process. Art History Art history is studying the artistic accomplishments based on culture and history. Students educated through DBAE instruction begin with observing exemplars. The choices of exemplars have received the most criticisms because of the lack of representation in different societies, gender, and minorities. The section of curriculum devoted to art history has roots with Perennialism qualities. From a Perennialist perspective the exemplars are mainly chosen from Western European artists; predominately individuals who are white and male. The program meritoriously excluded other genres and narrowed students ability to think critically by telling them the exemplars were the only necessary or worthy pieces of work to study. Taliaferro Basziles (2008) statement regarding the lack of diversity is powerful as she writes, Cartesian rationality, which à ¯Ã‚ ¬Ã¢â‚¬Å¡attens out the role ones racial history plays in considering a rational line of thought (p. 381). What she is offering is without diver sity and representation of multiple the points of view, the consumer is knowledge is incomplete, and they forced to take the perspective provided. In effect the lack of representation oppresses, even eliminates many cultures and genders from history. bell hooks (Darder, Baltodano, Torres, 2009) reminds us of the importance of hearing each others voices, individual thoughts, and sometimes associating these voices with personal experience makes us more acutely aware of each other (p.138). Unfortunately, the designers of the DBAE rely heavily on the great works specifically within Western European art history, in essence taking the status quo route of it was good for previous generations, so it must be good for the next generation. The Perennialist teacher is supposed to focus on personal development, but it appears that the art history framers of the DBAE approach are interested in developing one point of view, one level of emotion, and providing one genre of great work. Wang (2008) would argue this narrow focus further perpetuates the social hierarchy that exists in a predominantly privileged white society. She would advocate for a teacher to use caution, but to introduce other great works by minorities, females, and other marginalized individuals to provide students with a broader intellect. Additionally, if we look at Freires idea of an educational banking system, the DBAE is in full compliance. Freire (2003) describes the banking concept as education that regards men as adaptable, manageable beings (p.73). The use of exemplars, solely based on one society, provides students with the knowledge they may or may not need or use. The teacher deposits the notion that exemplary x IS a piece of great work and the student accepts and memorizes it and later regurgitates it back to the teacher. There is a complete lack of variety and opinions given toward the exemplars. Freire (2003) believes the students have to work at storing the deposits delivered to them not to d evelop an awareness which may result in transforming the opinion. Certainly, the teacher engages students in a dialogue, but the conversation revolves around what the teacher believes is important and offers no other alternatives. The criticism of the art history strand using the DBAE approach is justified. The lack of women, people of color, and modern artists exemplars gives students a disproportionate view of art history. The heteronormative thinking of art history in DBAE, as Sumara and Davis (1999) remind us, does not broaden a viewers perception or increase their understanding of what makes a piece of work worthy of being an exemplary. Students need to be able to develop various frameworks; this could occur through the study of designated, restricted art examples. Maybe even more than the advancement of multiple lenses, students need the capability to be instinctive regarding artistic choices and develop relations among those choices to help shape his or her reality. Art Criticism The goal of art criticism is to be able to interpret and evaluate for the purpose of understanding and appreciating works of art. To be able to interpret and assess art, students must be able to experience and process the art; additionally, teachers need to place a high level of importance on student perception and decision making. Therefore, art criticism relies on Existentialist and Constructionist theories. An existentialist teacher encourages student responses and desires student self-awareness, and hooks (Darder, Baltodano, Torres, 2009) reflects these traits when she describes her classroom as a place where everyone has a voice and students continually practice self-awareness to reinforce their position on a topic. Baszile (2008) offers that literature suggests reflection is a racially neutral practice. However, she would strongly disagree because of her experiences while attending a predominately White campus for preservice teachers. Her reflection experiences demonstrate a d ismissal of race and background, which left a void in her growth process. As a DBAE teacher, it is imperative that their voice and reflection be neutral to encourage honest and open dialogue between the students. The more students review and discuss art the more they build their knowledge base to think critically about art. Largely based on interest and critical thinking, it is the DBAE teachers responsibility to foster an environment where students can question ideas and have the flexibility ability to develop competencies in areas that interest them. Doll (1993) uses the term recursion to describe developing competence through reflective practices and building upon previous knowledge, in essence, he is suggesting that students are critically thinking. Dewey is an advocate for building on prior learning which involves experiential, hands-on learning. He would appreciate students in a DBAE classroom would have ample opportunities to connect art to other subjects during their experimentation and analysis. Dewey offers that school departmentalizes subjects and nothing could be worse for students as they quickly pass from one subject to the next, often with no conscious isolation. For students t o effectively interpret and analyze art, they have to be able to draw from many experiences. The experiences must repeatedly occur, because the childs present experience is in no way self-explanatory. It is not final, but transitional (Dewey, p. 279). Greene (1995) calls the experiences bringing the unknown to consciousness, which can provide pure enjoyment for students. Students who revel in the learning process are far more likely to find success with Blooms upper levels of critical thinking skills of creating, analyzing, and evaluating art. Art Aesthetics Art aesthetics is defining, making judgments, and exploring the relationships between art and ideology and morality. The existential properties of students working toward finding personal meaning and value in art is a basic foundation of art aesthetics. Students are responsible for determining if the art is beautiful or ugly and if the art is an accurate or poor example of the period it was intended to represent. Doll (1993) proposes that thoughts on thoughts is the way we make meaning. He continues by suggesting for one to have a sense of self they must interact with the environment, with others, and with culture. Addams (Flinders Thornton, 2004b) defines culture as things that are passed through generations and have value and meaning. For a student to appreciate and be able to provide an appropriate aesthetic point of view they have to develop a deep understanding of themselves and their culture. Students who have not developed the skills can often base their opinions on preconcep tions and biases when they are engaging in objective criticism of art. According to hooks (Darder, Baltodano, Torres, 2009), biases shape the way knowledge is given and received. An incorrect belief on a piece of art does not help a student achieve an understanding of a culture or how that culture fits within the world. Furthermore, ideas based on falsehoods often transfer to next generations that further perpetuate the bias and the need for future correction. The preservation of untruths can be dangerous because as Baszile (2008) offers the false self-system works from within and often convinces people that it is normal or fact. In the world of art, DBAE teachers have a responsibility to their students to help them understand falsehoods and how to break the cycle of biases and ignorance. In essence, DBAE teachers are Social Reconstructionists in that they are contributing to reshaping society by providing students with necessary skills to make qualified judgments and finding relationships between the art world and real world. Counts (Flinders Thornton, 2004c) states that if teachers could locate the courage, intelligence, and vision, they could become societal change-makers. At the very least, teachers touch the future each day and have the ability to help students view culture and society in different ways. Counts is adamant about teachers making a stand, making a difference. His statement, If the schools are to be really effective, they must become centers for the building, and not merely for the contemplation (Flinders Thornton, p. 32) should resonate with DBAE teachers. As their students find new relat ionships between art and society, and art and their thinking, they are also building a capacity for intellect and appreciation of different cultures. Freire (2003) saw teaching and learning as a method of examination in which the child conceives and reinvents the world. Furthermore, he stresses education consists in acts of cognition, not transferals of information (p. 79), which is precisely what DBAE art aesthetics strand aims to achieve. Conclusion Viewing discipline-based art education from the perspective of different curriculum theories offers the reader a chance to make connections to what and why the founding writers of the DBAE saw to be important. The origins of the DBAE stem from previous decades of art instruction being a break for regular classroom teachers, and an arts and craft slice of the students educational day. By creating an art curriculum that includes rigorous standards, art education benefits art instructors by focusing their efforts, and more importantly all students because of the critical thinking. While there are still flaws within the DBAE approach, the successes require schools to provide the necessary, valuable time for art instruction and learning in mainstream education. References Baszile, D. T. (2008). The oppressor within: A counterstory of race, repression, and teacher reflection. Urban Rev, 40, 371-385. doi:10.1007/s11256-008-0090-1 Darder, A., Baltodano, M., Torres, R. (2009). 7 Confronting Class in the Classroom. In The critical pedagogy reader bell hooks (2nd ed.). New York and London: Routledge. Dewey, J. (1976). The Middle Works, 1899-1924. In The child and the curriculum. London and Amsterdam: Southern Illinois University Press. Doll, W. E. (1993). A post-modern perspective on curriculum. New York and London: Teachers College, Columbia University. Dweck, C. S. (2000). 3 Achievement Goals: Looking Smart Versus Learning. In Self-theories and goals: Their role in motivation, personality, and development. New York and London: Psychology Press. Eisner, E. W. (1967). Help or hindrance? The School Review, 75(3), 250-260. Eisner, E. W. (2001). What does it mean to say a school is doing well? The Phi Delta Kappan, 82(5), 367-372. Flinders, D. J., Thornton, S. J. (2004a). 1 Scientific Method in Curriculum-Making by Franklin Bobbitt. In The curriculum studies reader (2nd ed.). New York and London: RoutledgeFalmer. Flinders, D. J., Thornton, S. J. (2004b). 3 The Public School and the Child Immigrant by Jane Addams. In The curriculum studies reader (2nd ed.). New York and London: RoutledgeFalmer. Flinders, D. J., Thornton, S. J. (2004c). 4 Dare the School Build a New Social Order by George S. Counts. In The curriculum studies reader (2nd ed.). New York and London: RoutledgeFalmer. Freedman, K. (1987). Art education and changing political agendas: An analysis of curriculum concerns of the 1940s and 1950s. Studies in Art Education, 29(1), 17-29. Freire, P. (2003). 2. In Pedagogy of the oppressed (30th Anniversary ed.). New York and London: Continuum International Publishing Group Inc. Greene, M. (1995). 2 Imagination, Breakthroughs, and the Unexpected. In Releasing the imagination: Essays on education, the arts, and social change. San Francisco, CA: Jossey-Bass. Kliebard, H. M. (2004). 1 Curriculum Ferment in the 1890s. In The struggle for the American curriculum, 1893-1958 (3rd ed.). New York and London: RoutledgeFalmer. Noddings, N. (2003). 4 The Aims of Education. In Happiness and education. Cambridge, UK: Cambridge University Press. Patchen, J. (1996). Overview of discipline based music education. Music Educators Journal, 83(2), 19-27. Sumara, D., Davis, B. (1999). Interrupting heteronormativity: Toward a queer curriculum theory. Curriculum Theory, 29(2), 191-208. Wang, H. (2008). Red eyes: Engaging emotions in multicultural education. Multicultural Perspectives, 10(1), 10-16. doi:10.1080/15210960701869330

Truth Revealed in As I Lay Dying :: As I Lay Dying Essays

Truth Revealed in As I Lay Dying       Addie Bundren conjures up the central darkness derived from her death and directly or indirectly causes actions in which each Bundren character takes advantage of Addie. With the character's actions revolving around her death, William Faulkner's As I Lay Dying reveals the truth about the people who surround a person may take advantage of him or her.   The death of Addie Bundren shapes all of the character's actions in life including Addie's final request before her death.   Addie takes advantage of her death by using it for revenge and inflicting final pains upon some characters, while the other characters use her to get what they want for their personal needs.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Addie causes all the painful actions around her family either directly or indirectly.   Addie is foremost the prominent abuser of her upcoming death in As I Lay Dying.   She predetermines her time to die, and she makes sure that the people in her family whom she dislikes must experience her wrath before she moves on to the next life.   "Addie is the one who is dying, but she makes revenges run throughout the family and extend beyond" (Wadlington 35). Inflicting pain mostly on Anse, Addie enjoys herself. Anse, a lazy man, is forced by his wife to take her to Jefferson to be buried as her final request.  Ã‚   Addie's revenge on Anse was payback for all the times when he just sat around while Addie, her children, and sometimes neighbors do all the hard work for him.   Also "Addie reacts to Anse's arid conventionality by having a clandestine affair with minister Whitfield" (Wadlington 31). Addie also indirectly hurts one of her favor ite sons, Cash.   Cash is hurt indirectly when he helps ! his kinfolk carry his mother's coffin to Jefferson, where along the path, he breaks his leg while crossing a flooded river.   Although Cash is one of Addie's favorites besides Jewel, Addie's cruel revenge carries over to Cash's broken leg, which later becomes infected.   Besides her indirect action on Cash's leg, Cash is the most favorite of Addie. As Wadlington states, "He is very much his mother's son in expressing his feelings through physical action rather than through words by building a coffin for the mother he loves" (Wadlington 41). Jewel, Addie's second favorite next to Cash, seems to be cursed by his callous mother.