The effect of not having personal gadgets in i.t student Essay Example for Free

The effect of not having personal gadgets in i.t student Essay CHAPTER 1 INTRODUCTION In the year where electronic gadgets are not yet invented like computers, students are not yet engage in activities using technologies. Students rely on books and visit library facilities to study, read their notes and review their school lessons. During those years, despite the lack of computers and hi-tech gadgets students still achieve high and good grades and the students are still focused on their studies. They strive hard just to attain higher and better grades in their education. Students who can’t afford to buy a computer just go to the library to read book, to do research work, and to make their school project. During the years when computers were first invented, people make use of computers to help them accomplish their works and to make their tasks lighter and fester.Now in the present time, the age of modern technology, where almost everything is hi-tech, computer technologies has greatly improve and become better. These days, the computer technology industry is rapidly growing and changing. Along with that growth and change of computer are the people who almost instantly adapt to changes. The reason why computer technologies are invented is to help make people’s life easier and to improve their way of life, especially the students. Modern computer technologies make studying easier and fun to the students. Computers help students in their studies for students can start. 1.1.SUBJECT Several studies and researches have suggested about the various harmful effects gadgets have on human health. Electronic gadgets are now very essential to our society today. We need electronic gadgets to do business, to have some recreation and help us get through our daily lives. 1.2.PURPOSE This study aims to know how gadgets affect the studies of the IT students of MPC. This study will show the researcher how the gadgets can affects the studies of the IT students of MPC as said on the title. As we know, gadgets are now part of our daily basis. 1.3.SCOPE AND LIMITATION This research was conducted an Montessori Professional College, 1812c.m Recto Avenue Corner, Coromina Street Quezon Boulevard, Quiapo Manila, Approximate 2kms. From Manila City Hall, it is  located right side of the Isetan Recto, In front of Cartimar Center. 3rd floor along University Belt.This action research may not be copied or reproduced in books, pamphlets, outlines or note without any permission of the author. 1.4.PLAN OF DEVELOPMENT The researcher went to the library to gathered the data to the books, magazine and even at the internet, it happened at the MPC library, then pass it to the professor ad check it, then give it back again to the researcher to rewrite the correction. The researcher went to the bookbinding store, bookbind it after that gave it back to the professor for recheck if ever there will be any correction after that gave it back again to the researcher and ready for the defense.

Assessing The Background Of Koolhaas Cultural Studies Essay

Assessing The Background Of Koolhaas Cultural Studies Essay After the devastating fire bombs of the Germans strategy during the early stages of World War II, Rotterdams centre was destroyed, together with many other older buildings of the city. The restoration of the Rotterdams centre presented a great challenge to architects of building a city from the start. Rotterdam was then a post World War II empty canvas which gave birth to some of the upcoming architects of the time. One of them was Rem Koolhaas, who four years after the destruction had the chance to design one of the cultural museums in the centre of Rotterdam. Kunsthal museum was built as a way to encourage tourism in Rotterdams cultural capital. The Kunsthal museum was design and built as a way to draw global attention for the architecture of the building in order to put Rotterdam on the European Cultural stage. Rem Koolhaas is a Dutch architect that was born in Rotterdam in 1944. He started his career as a writer and he worked as a journalist for the Haagse Post and as a film screenplay writer. In 1968 he moved to London to study Architecture at the Architectural Association School. By 1972 a scholarship, that he was awarded with gave him the oppotunity to stay in the United States where he started his analysis of the impact of the metropolitan culture on architecture. He wrote Delirious New York, which was published in 1978 and he described it as a retroactive manifesto for Manhattan.( eneshi reference?) At that time Rem Koolhaas returned to Europe in order to step forward from theory to practice and in 1975 he founded OMA (Office of Metropolitan Architecture) in London with Elia and Zoe Zenghelis and Madelon Vriesendorp. In the first 10 years OMAs designs were theoretical; they were only captured on paper but never build. The intentions of OMA were to define new types of relationships between architecture and contemporary cultural situation, both in theory and in practice. OMAs projects like the Educatorium in Utrecht, the Seattle Public Library and the Kunsthal Museum are undoubtedly revealing those objectives. Rem Koolhaas was mainly influenced by the early modernism of Destijl and the Russian Constructivists and his attempt was to reinvent the variety of the modern movement before the establishment of the Rationalist canon. In the 1980s he turned towards more realistic projects like housing programmes, some of them being a residential building project in Rotterdam (1980 1982) and public housing in Amsterdam (1983). By 1987 Rem Koolhaas had the commission to design the Kunsthal museum in Rotterdam, Netherlands which was the first large project by OMA to be built. Kunsthal Museum is located in Rotterdam, Netherlands and lies between the citys Museum Park and the busy highway Maasboulevard creating a division to the site which Koolhaas used to shape architectural design accordingly. The building contains three large exhibition halls (3300 square meters) on three different levels that can be used jointly or independently, two gallery spaces, a design gallery and a photo-gallery, a large auditorium, a bookshop, a VIP room and an independently accessible restaurant cafe. The museum is not only an exhibition building but also acts as a traffic intersection as well. The south facade of the building faces the main artery of the city, a busy highway which is built on top of a dyke and is connected through the building with the north side where the museum park takes place. In the perimeter of the museum park there are located 4 other museums among them the Netherlands Architecture Institute and the Museum Boijmans van Beuningen. Rem Koolhaas is using the surrounding features of the site to contrasts the two sides of the building, the quiet, green park and the busy and noisy highway, and uses Kunsthal museum as a bridge that connects the urban and the natural landscapes. The main idea behind the buildings design was that of a square crossed by two routes. One of those routes is a public pedestrian ramp linking the north and south sides of the museum and a road, parallel to the highway, running east west. Those routes would divide the square into four autonomous parts that would be joined by an axis of movement. The challenge for Rem Koolhaas and his partners was to design a museum- building as four different, autonomous projects, a feature that is used before in the Seattle City Library (2004) where Koolhaas designed the building as several different parts connected by a spiral route. From that challenge the concept of the building was a continuous circuit through the spaces. The concept idea was achieved by the use of ramps running through the interior, connecting the different levels and divides the functional areas. The ramps are connecting the interior spaces on different levels but at the same time the floor slopes and ramps are traversing the structure as the several parts of the building are piled on top of each other. Circulation is an important element of Rem Koolhaas architecture and as he stated: The movement changes the architecture.  [1]   Appendix: 1 Sections of the building showing the floor slopes created by the ramps. One of the ramps that divides the structure is the public, pedestrian ramp that runs from the highway level of the north facade to the access road at the lower level of the museum park. A glass wall separates the public path from the interior exhibition space that creates a connection between interior exterior spaces. Another passage through the Kunsthal Museum is an access road that runs Appendix: 2 Exterior public ramp glass wall beneath the building. A second; interior ramp runs parallel but reversed and crosses the pedestrian ramp. The entrance of the museum is defined when the two ramps meet. The interior ramp at the entrance of the building leads to the ground level into the Exhibition Hall One that faces out to the museum park. Rem Koolhaas used tree columns scattered on the interior to refer to the exterior view. At the end of Hall one a ramp leads to Hall two that faces out towards the urban landscape. Through Hall two a path leads either back to the entrance or leads up a different ramp to a roof garden but halfway up the visitor faces Hall three. This complex spatial circulation creates a unique experience through spaces with the use of different contemporary lighting systems and materials for each of the paths, ramps and spaces through the museum. Koolhaas is also using this technique in order to divide the private and public areas but also to create a unique relationship between interior and exterior. Appendix: 3 Lighting systems through spaces Appendix: 4 Roof Lighting systems Circulation is the main idea behind Kunsthal museum and as Rem Koolhaas stated for the MOMA expansion project: It is evident that circulation is what makes or breaks public architecture.   [2]   In the Kunsthal museum ramps are used as connectors but also are used to move the viewer from one space (gallery) to the next in order to experience the journey between spaces. Rem Koolhaas attempt to contain in Kunsthal, but also in some other projects, a complex spiral shape movement within a square which refers back to Wrights Guggenheim Museum with the circular circulation, the unbuilt endless museum project by Le Corbusier and the pinwheel plan of early villas by Mies Van Der Rohe. Rem Koolhaas has used the spiral circulation within a rectangular volume in several projects like the 1989 design for the French National Library in Paris. Many of Kunsthal design elements were used in the famous Seattle city library 10 years later, like the use of ramped spiral circulation, diverting public routes through the building, translucency and transparency. In order to create a contrast between interior and exterior spaces but also private and public areas, Rem Koolhaas used a various collection of contrasting materials, cheap and expensive, elegant and banal. The use of inexpensive, everyday materials is another element of Rem Koolhaas architecture that is contained in Kunsthal Museum. The architect stated that: Architecture is always the encounter of vision and circumstance. The Dutch dont believe in spending a lot of money on buildings so theres no choice but to build with really cheap materials.  [3]   He created a collage of materials, with Miesian aesthetics, on the exterior of the building which reflects the Mies Van der Rohes National Gallery in Berlin but in a deconstructed adaptation marked with contemporary elements and a contrast of fine marble and glass with raw materials. For Kunsthal museum Koolhaas used a collection of different materials like steel, glass, stone cladding, concrete, translucent corrugated iron sheets and plywood. This differentiation of materials had as a result the fragmentation of the facades and each side of the building is completely different. The architect used heavy, solid materials where the interior spaces had to be kept private and the use of glass gave a feeling of openness and a link between exterior-interior. With the use of glass he also achieved to open the exterior facades in order to show to the public the interior spaces without giving a clear image of whats really happening behind the walls. Appendix: 5 East Facade of the museum Appendix: 6 North West Facades of the museum The complexity and uniqueness of the building but also the detailing that Rem Koolhaas added to the Kunsthal museum is revealed not only through the exterior and interior architectural details but also through the structure of the building. Kunsthal museum, unlike most of the buildings, especially that time, embraces many options that create a varied spatial experience that make the concept and the building itself, stronger. The design of the structure for Kunsthal reveals the relationship between architectural intent, rationality and structure. Many elements were embedded in the structural system in order to create a unique structural system in each area of the building. There is a distortion of the structural grid and it is visible in the interior, in each hall the columns were placed diagonal in plan. Appendix: 7 Architectural and structural plans of the museum. In Hall one there are two rows of columns slipping past each other but in Hall two there is a complete free span space. The Auditorium has also a different structural system with slanted columns and the pedestrians ramps- path is being designed as a double cantilever with columns running across, diagonal in plan. The irrational structural system that is used in Kunsthal museum is exposed on the exterior of the museum at the main entrance, leaving a taste of what is to come on the interior for visitors. Next to the entrance there are four different columns very closed to each, one H column, one reinforced concrete column, one castellated and one cylindrical column. The unique structural systems used in the Kunsthal, the cheap exposed materials, the fragmentation of the facades by different materials, the use of a complex circulation, the extensive detailing throughout the building but also some functional problems that came to the surface after the opening of the museum in 1992, set Kunsthal as the pace for a lot of criticism about Rem Koolhaas and his architecture. Rem Koolhaas stated at one of his interviews for his book S.M.L.XL that: I was also interested in showing the implications of failure showing both the calculations and the miscalculations of projects.  [4]  Kunsthal museum is a great example of many architectural elements that Koolhaas wrote about and used at many of his later projects, but some failures was found in some of the detailing of the building after the opening in 1992. Problems associated with the building were indicated by many of its visitors. Some of the comments made by the visitors stated that the entrance of the building was not exactly obvious so later on a lighting arrow indicating the door was placed outside the entrance. Other problems associated to the building were some of the narrow corridors and metal grid flooring used in one of the exhibition halls that caused several drawbacks to the function of the building and created a lot of criticism for the architecture of the museum. Appendix: 8 Entrance of the museum Conclusion Alli mia paragraph g tin simantikotita p ennan to conclusion se 2 Perhaps its because Koolhaas is not wedded to any one style that he finds McArchitecture easy to digest. Unlike the work of Peter Eisenman or Gehry, a Koolhaas building isnt easily identifiable. In some ways I consider that a compliment, says Koolhaas. You work in so many conditions that it would be artificial and unreal if your work did not become very different too. Bibliography: Balmond, C. (2007) Informal, Prestel Publishing. Baumeister,R. Lee,S.(2007)The Domestic and the Foreign in Architecture, Rotterdam, 010 Publishers. Egeraat, E. Jodidio,P. Richters, C.(2005) 10 years, realized work, Australia, The images Publising Group. Graafland, A. Graafland, A.(2000) The socius of architecture: Amsterdam, Tokyo, New York. Rotterdam, 010 Publishers. Groenendijk, P. Vollaard, P. (2004) Guide to Contemporary Architecture in the Netherlands, Rotterdam, Uitgeverij 010 Publishers. Koolhaas, R. Mau, B. (1995) S.M.L.XL, New York, Monacelli Press. Koolhaas, R. (1996) Rem Koolhaas : Conversations with Students, New York, Princeton Architectural Press. Koolhaas, R.( 1994) Delirious New York: A retroactive Manifesto for Manhattan, New York, Monacelli Press. Naredi-Rainer, P. Hilger, O. (2004) Museum buildings: a design manual, Switzerland, Publishers for architecture. Storrie, C.(2006) The Delirious Museum: A Journey from the Louvre to Las Vegas, New York, I.B. Tauris Co Ltd. Waldheim, C.(2006)The landscape urbanism reader,New York, Princeton Architectural Press. http://architectuul.com/architect/rem-koolhaas http://www.notablebiographies.com/news/Ge-La/Koolhaas-Rem.html http://www.ribajournal.com/blog/comments/rotterdam_kunsthal/ Appendixes:

Franz Joseph Haydn

Franz Joseph Haydn Franz Joseph Haydn Franz Joseph Haydn was born a peasant in the village of Rohrau, Austria on March 31, 1732. His father, a wagon maker by trade, was musically inclined. He often played the harp while his wife, Haydns mother, sang along. The second child of twelve in a peasant home left Haydn little chance of attending school, however young Franzs early showings of musical ability caused his cousin to take notice and fund his education to be given at St. Stephens (Franz Joseph Haydn Biography, NAXOS). At age eight he was given a choirboy position in a Viennese cathedral. From a very early age Haydn was moving up in the world based on his own merit. Social mobility in his day and age was relatively unheard of, but from the very beginning Franz Joseph Haydn was proving to be exceptional. For several years Haydn remained a choirboy with the cathedral, until one day he found himself out on the streets with little more than the clothes on his back. Puberty had altered the boyish timbre in his voice and he was unfit to remain in the boys choir. Soon, however, Haydn found work as an accompanist to Niccolo Porpora, an Italian composer. Niccolo taught Haydn Italian, voice, and schooled him in musical composition (Franz Joseph Haydn Biography). Haydn and Porpora really began to find success as aristocrats and royalty began to hire them for entertainment at all types of events. Haydn began to find more than just status, he began to generate significant revenue (Halley Tsai). Soon Haydn moved on apart from Porpora and was briefly hired by Baron Karl Josef von Furnberg. It was under this patronage that he composed his earliest string quartets. At 28 Haydn found a more substantial position when he was hired as music director by Count Ferdinand Maximilian von Morzin (Basic Repertoire List F.J. Haydn). One of the biggest turning points in Haydns life came in 1761 when Prince Pal Antà ¡l Esterhà ¡zy hired him as assistant music director. The following year he was promoted to head director, or Kapellmeister. Haydn served as Kapellmeister under three princes in this household, finding himself with overwhelmingly demanding duties and responsibilities. The second prince, Prince Miklà ³s Jozsef Esterhà ¡zy, was the biggest musical advocate of the three. He spent a fortune building up a musical establishment second to none in his day. Haydn found himself in a very publically demanding position. Haydn worked to not only compose music, but also to teach his music as well as others pieces. He was in turn responsible for performing music, maintaining the library of music, keeping up the instrument collection, coaching singers, and perform the duties of an administrative figure when it came to issues and disputes among musicians and entertainers (Basic Repertoire List F.J. Haydn). During the time of Haydns patronage by the princes he composed roughly 83 works. Many of these works were string quartets. Haydn wrote many of these quartets in sets that shared common themes and elements. Some of these sets are as follows: The Sun Quartets (1772), The Russian Quartets (1781), The Prussian Quartets (1787), and many, many more. Many of these later quartets were written to feature his third prince and patron Prince Nikolaus Esterhà ¡zy. Nikolaus played a bowed instrument called the baryton. This instrument was also able to be plucked, and was looked at rather critically by later scholars and critics. In addition to the quartets, Haydn also composed a significant amount of pieces for two violins and a cello as well as some 126 baryton trios (Franz Joseph Haydn Biography, NAXOS). Haydn did not always enjoy the seclusion that came with working for the princes of Esterhà ¡za, but he did enjoy the unique privilege of being allowed to market his compositions to publishers and receive commission. Many composers being patronized during the 18th century did not have this luxury (Basic Repertoire List F.J. Haydn). During the early to mid 1790s Haydn joined forces with an enterprising, young English violinist, Johann Peter Salomon. It was alongside Salomon, in London, that Haydn composed some of his works considered masterpieces. Several of which are commonly known as The London Symphonies. (Basic Repertoire List F.J. Haydn). His use of crescendo, accents, abrupt dynamic changes, modulation, and other such innovative technique set the precedent for many following composers (Forney, Kristine). While working for the princes Haydn published a total of 125 trios and 19 operas (Basic Repertoire List F.J. Haydn). The most famous of Haydns symphonies, Symphony No. 94, is often referred to as the â€Å"Surprise Symphony.† It became apparent to Haydn that members in the audience were falling asleep mid-performance. As a remedy for this problem, he composed this symphony utilizing a forceful brass section composed of French horns and trumpets along with tympani percussion. Haydn wrote the beginning to be mild and peaceful. Dynamically the introduction was relatively piano. And then, seemingly without warning, Haydn wrote in an orchestral hit that brought the dynamic level abruptly to forte in an attempt to jar sleeping listeners to wake. Such dynamic change was later reflected in Beethovens works (Forney, Kristine). Although Haydn had passed the age of sixty his output of music showed no signs of slowing. After his work in London, Haydn returned to Austria and began to write oratorio. The Creation and The Seasons were two famous works that portrayed scenes of nature. An avid hunter and nature lover, Haydn often incorporated themes of nature into his music (Franz Joseph Haydn biography, Essortment Articles). Haydn was notably one of the most productive writers of all time, putting out an immense number or musical works throughout his life. Haydn wrote career number 107 symphonies, 68 string quartets, 62 piano sonatas, 43 piano trios as well as the 125 trios written during his work with the princes, and 19 operas(Basic Repertoire List F.J. Haydn). This level of proficiency in that day was rivaled only by the young composer Mozart, who was actually a good friend of Haydn. Haydn stumbled across Mozart while observing a lesson of Mozarts with another student. Haydn was stunned by the musical genius and quickly befriended him. The two began to become involved in each others music writing and even suggested ideas on occasion that would better each others writing. Haydn even admitted his younger companions superiority in writing opera (Franz Joseph Haydn Biography, NAXOS). Haydn and Mozart remained friends until parted by the death of Mozart. At age 77, Haydn followed his friend in death on May 31, 1809. It was Mozarts last composition A Requiem that was performed at Haydns own funeral (Halley Tsai). Haydns works are not as often performed today as some of his later contemporaries, because they are not complex in nature; however, the originality of his works are without question. Haydn paved the way in style and technique for his future composers. Haydn not only influenced the minds of the composers but also was an instructor to the musicians and performers, both instrumental and vocal, that would play the music. Haydn is often remembered as a self-made man, a true example of â€Å"rags to riches.† He is remembered as an innovator and an instructor totally unique and original in all areas of his life and work. Bibliography Forney, Kristine. The Enjoyment of Music An Introduction to Perceptive Listening. Boston: W. W. Norton Company, 2007. Print Franz Joseph Haydn. Academic Talent Development Program. Halley Tsai, 1999. Web. 30 Sep. 2009. . Franz Joseph Haydn Biography. Listen to Classical Music by Franz Joseph Haydn. Classical Music Streaming Classical Music. NAXOS, 2009. Web. 30 Sep. 2009. Basic Repertoire List F.J. Haydn. Classical Net. 2009. Web. 30 Sep. 2009. . â€Å"Franz Joseph Haydn biography. Essortment Articles: Free Online Articles on Health, Science, Education More.. Elaine Schneider, 2002. Web. 30 Sep. 2009.

Censorship :: essays research papers

Censorship and the Internet Biram Mboob London School of Economics B.mboob@lse.ac.uk "Inevitably, being an uncontrolled system, means that the Internet will be subjected to subversive applications of some unscrupulous users." (Kershaw) The concept of the Internet was created in answer to a strategic problem faced by the United States government during the Cold war era. A nuclear attack would easily disrupt a traditional computer network and hence make communication impossible. The solution was found in a new type of network. A network where all nodes would be equal in status, that is to say each could send and receive messages. The resulting projects were the first steps towards the birth of the Internet, as we know it. Today, the Internet consists of several parts, which include the World Wide Web, FTP, IRC, News groups, Gopher, WAIS, Archie, and Email. The Internet is continuing to grow at a rate of 40% a year, with roughly 20 million users to date. Over the past few yea rs, the issue of Internet censorship has been subject to an unprecedented amount of controversy. Both sides of the debate present very strong arguments about why the Internet should or should not be censored. The point most often brought forward by advocates of Internet censorship is that â€Å"inappropriate† material can all too easily land in the hands of children via this powerful new medium. â€Å"Inappropriate† mostly describes the sexually explicit and racist material that is easily found on the Internet. The debate that currently rages however centres mainly on pornographic material. The essay is divided into three content-based sections. The first section examines the data that is available about pornography on the Internet. Conclusions on significance of the data are offered. Section two examines the legal issues and difficulties surrounding the idea of censorship. The final section discusses alternative ways of protecting children from pornography and offers a final conclusion on the attributes of the problem and the suggestion of a solution. Censorship of Internet is a big issue and not much of it can be covered in an essay at this level. The essay deliberately focuses only on pornography. While many aspects had to be left out and others discussed minimally, the result of this essay remains a brief synopsis of relevant issues and conclusions on these issues. Section 1 In early 1995, a research team at the Carnegie Mellon University in Pittsburgh, Pennsylvania released one of the most revealing studies into online pornography.

Creation Myth :: essays research papers

  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Good vs. Evil  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   In the beginning all was dark. The universe stood still, just like a huge boulder. God stood one day, above all, staring at this unmoving mass.  ¡Ã‚ §A great waste of space, ¡Ã‚ ¨ He thought, and with this thought still in mind He went into his great kitchen to bake light. The light was ready, finally for it took many years, light isn ¡Ã‚ ¦t very easy to create. Got took in and hurled it at a medium-size rock, which he then called the Earth. He decided that the Earth would be His main project, and until Earth was finished, He wouldn ¡Ã‚ ¦t work on anything else.   Ã‚  Ã‚  Ã‚  Ã‚  God looked around the Earth, which was now glowing brilliantly on one side but was still dark on the other side, for there was only enough light to light up half the Earth. God thought that the other side of Earth needed to have light too, because God believed in equality for everything and everyone, and with this thought, he gathered up the light and hung it in the sky. The light was bright and hot enough to light up, sill, only one side of the Earth so God took His powerful hand and spun the Earth hard so it revolved around the light which he decided to call the sun. This way the whole planet would get light.   Ã‚  Ã‚  Ã‚  Ã‚  God then realized that the Earth was now too hot to live on, so He blew in the air and created the atmosphere, fog and dew. He raised his hands and down came the water, filling up everyone of Gods footprints and making all the oceans, seas, rivers and lakes.   Ã‚  Ã‚  Ã‚  Ã‚  Then God found a ball of mud, just enough to fit into one of his great hands, and proceeded to squeeze it in to the shape of a man. He cried one tear, and only one, on the mud, and almost immediately the mud had life stored inside it.   Ã‚  Ã‚  Ã‚  Ã‚  After a few years of the man being all alone on what was now called Earth, man spoke to God and said,  ¡Ã‚ §God, I am grateful for you creating me but I am very alone down on Earth, and wish to have a partner down there. God agreed, took another handful of mud and shaped it to look like a woman. He sent her down to Earth and together, the man and women created several more men and women. Creation Myth :: essays research papers   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Good vs. Evil  Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   In the beginning all was dark. The universe stood still, just like a huge boulder. God stood one day, above all, staring at this unmoving mass.  ¡Ã‚ §A great waste of space, ¡Ã‚ ¨ He thought, and with this thought still in mind He went into his great kitchen to bake light. The light was ready, finally for it took many years, light isn ¡Ã‚ ¦t very easy to create. Got took in and hurled it at a medium-size rock, which he then called the Earth. He decided that the Earth would be His main project, and until Earth was finished, He wouldn ¡Ã‚ ¦t work on anything else.   Ã‚  Ã‚  Ã‚  Ã‚  God looked around the Earth, which was now glowing brilliantly on one side but was still dark on the other side, for there was only enough light to light up half the Earth. God thought that the other side of Earth needed to have light too, because God believed in equality for everything and everyone, and with this thought, he gathered up the light and hung it in the sky. The light was bright and hot enough to light up, sill, only one side of the Earth so God took His powerful hand and spun the Earth hard so it revolved around the light which he decided to call the sun. This way the whole planet would get light.   Ã‚  Ã‚  Ã‚  Ã‚  God then realized that the Earth was now too hot to live on, so He blew in the air and created the atmosphere, fog and dew. He raised his hands and down came the water, filling up everyone of Gods footprints and making all the oceans, seas, rivers and lakes.   Ã‚  Ã‚  Ã‚  Ã‚  Then God found a ball of mud, just enough to fit into one of his great hands, and proceeded to squeeze it in to the shape of a man. He cried one tear, and only one, on the mud, and almost immediately the mud had life stored inside it.   Ã‚  Ã‚  Ã‚  Ã‚  After a few years of the man being all alone on what was now called Earth, man spoke to God and said,  ¡Ã‚ §God, I am grateful for you creating me but I am very alone down on Earth, and wish to have a partner down there. God agreed, took another handful of mud and shaped it to look like a woman. He sent her down to Earth and together, the man and women created several more men and women.

Romantic Poetry Analysis

Amber Lee Anardi Gabriel Decio ENG251-001 16 April 2013 The Dominating Themes of Nature and Nostalgia The Romantic Period began in the late 18th century and emphasized everything that the previous age had not. Romantic ideals that focused on the heart over the head and the natural man over the civilized man influenced the literary works of the Romantic Era. Themes of nostalgia and nature dominated the works of William Wordsworth, William Blake and Percy Bysshe Shelley.  Read also Critical appreciation of the poem â€Å"Old Ladies’ Home†.These two themes go hand in hand when interpreting romantic poetry, with the development of the hectic industrial cities many poets longed for the simplicity that nature had to offer. Poems such as Wordsworth’s â€Å"Resolution and Independence†, Coleridge’s â€Å"The Dungeon† and Shelley’s â€Å"To Night† embody the themes of nature and reminiscence. William Wordsworth is said to be one of the most influential poets of the Romantic Era. Wordsworth’s religion of nature was influenced by his childhood, growing up in the Lake District of northwestern England and through his travels to foreign countries. Resolution and Independence† was written in 1802, roughly four years into the Romantic Period. The poem is about a man walking through the countryside after a night of rain, he reflects on the livelihood of the creatures that surround him and initially share their joy until his mind wanders to the dejection he feels for what man has become. He comes across an old man, who he envies because his job is to collect leeches for medical purposes. The traveller envies the old man because he gets to work in nature.The theme of nature is prevails in this poem as well as the theme of nostalgia. Wordsworth writes â€Å"The birds are singing in the distant woods; over his own sweet voice the Stock-dove broods; the Jay makes answer as the Magpie chatters; and all the air is filled with pleasant noise of waters. † Wordsworth describes the sounds of nature that the traveler hears, clearly showing his appreciation of nature when he describes the birds singing as â€Å"pleasant noise†.As the poem continues the traveler demeanor embodies the same joy that the creatures of nature are feeling, yet his jubilation diminishes when he reflects on what man has become. â€Å"The pleasant season did my heart employ: my old remembrances went from me wholly; and all the ways of men, so vain and melancholy. † The traveler is displeasured with what man has become, describing him as â€Å"vain and melancholy†, such displeasure can be interpreted as the theme of nostalgia. William Wordsworth’s â€Å"Resolution and Independence† embodies the dominating themes of nostalgia and nature in romanticism.Samuel Taylor Coleridge is better known for his influence on literary criticism rather than his poetry. Between 1797 and 1803 Coleridgeà ¢â‚¬â„¢s best poetry is said to be produced. â€Å"The Dungeon† was written in 1797 and is about a dungeon in which criminals are forced to reside in. The first verse of â€Å"The Dungeon† is dreary and very critical of using dungeons to punish criminals. The emphasis on industrialized cities and the insignificance of rural areas and the upset it causes romantic poets can be seen in this poem. â€Å"Is this the only cure?Merciful God! Each pore and natural outlet shrivell’d up by Ignorance and parching Poverty, his energies roll back upon his heart, and stagnate and corrupt; till chang’d to poison, they break out on him, like a loathsome plague-spot;† Coleridge’s text is trying to convey that when man is separated from his natural environment he might turn to crime. The theme of nostalgia can be seen in â€Å"The Dungeon† through Coleridge’s emphasis on nature over civilization, because industrialism is a new concept for romant ics.Essentially Coleridge believes that nature betters a man and believes that sending a criminal to a dungeon only turns them into savages rather than letting them find harmony in the natural world. â€Å"With other ministrations thou, O Nature! Healest thy wandering and distemper’d child: Thou pourest on him thy soft influences, the sunny hues, fair forms, and breathing sweets, thy melodies of woods, and winds, and waters,† This quote can be interpreted as Coleridge’s way of expressing how nature can heal man.Samuel Taylor Coleridge exemplifies the themes of nostalgia and nature in his poem â€Å"The Dungeon† through his message of nature having the power to better man. Percy Bysshe Shelley is categorized as the perfect romantic poet due to his quest for truth and justice. Shelley’s poetry peaked in 1816 until he died in 1822. The poem â€Å"To Night† is about Shelley’s longing for the day to end and night to come. Shelley wants to escape the day and find refuge in the night, although he never explains why in his poem.In the third stanza Shelley writes â€Å"When I arose and saw the dawn, I sighed for thee; when light rode high, and the dew was gone, and noon lay heavy on flower and tree, and the weary Day turned to his rest, lingering like and unloved guest, I sighed for thee. † When Shelley writes â€Å"and the dew was gone† it shows that he is fond of the nature that occurs at night such as the dew on the grass when the night ends. In the second stanza Shelley anticipates night’s arrival â€Å"Wrap thy form in mantle gray, star-inwrought! † Shelley describes another aspect of nature at night; the sky changing colors and the emerging stars.Themes of nostalgia can also be detected in â€Å"To Night† but are interpreted differently in comparison to other poems. â€Å"Sleep will come when thou art fled; of neither would I ask the boon I ask of thee, beloved Night – swi ft be thine approaching flight, come soon, soon! † Shelley longs for the night on a daily basis; the difference of nostalgia in this poem is that his melancholy demeanor is relieved when night begins unlike other poems that reminisce on the old ways of life. â€Å"To Night† exemplifies a different interpretation of the romantic themes such as nature and nostalgia.Themes of the Romantic Era dictated the literary works during the 18th and 19th centuries. The most influential theme was nature and poets developed this theme through their works. Nostalgia was also a common theme in romantic literature, as industrialization grew in popularity, many romantics opposed the new way of life and longed for the way things used to be. William Wordsworth’s â€Å"Resolution and Independence†, Samuel Taylor Coleridge’s â€Å"The Dungeon†, and Percy Bysshe Shelley’s â€Å"To Night† all exemplify the themes of nature and nostalgia through their po etry.

Learning is a process Essay

Learning is a process, which requires mental capability for it to happen. There are various means by which learning takes place for example there is observational learning, intuition, or through experience. Learning is a continuous process, which happens throughout the life of a person. In education, learning takes place from the time one starts attending a classroom. This paper reflects on the experience that I have had on teaching student to learn. At the first instance, this is not an easy process because it involves making a student open up his or her mind so that grasping of the instruction can take place well in the mind. Most students find it difficult to learn out of many reasons. One of the reason I have realized make students fail to learn how to read fast is fear. Most of them have fear to make a mistake as they start reading. This fear hinders them from attaining degree of learning that they are supposed. Another factor that affects the rate of how children learn to read is the rate of mental development (Arends & Kilcher, 2009). This is because children have different rates of mental development. Those children who learn to read faster than the others are the ones who have faster rate of mental development. I have learned that it is difficult to teach children in the same classroom due to the different rates by which the children learn. Therefore, what I do is to attend to individual students. This allows those children with low rate of learning to feel embarrassed by other who are able to learn first. This also helps the students who are quick learners not to feel dragged by their counterparts who are slow learners. Another thing that I have noticed about students as they learn to read is that they do not like so much supervision. When the students are given freedom to learn more by themselves they tend to learn faster than when as a teacher I try to push them and giving them direction on how to learn. Freedom helps them to be more open to the learning process as they feel they are not intimidated. They also find time to challenge each other as they try to memorize the words they have learned to read. I have found that the best way to enhance learning to students is to allow them do much of the learning by themselves. The work of the teacher would be to give directions, guide them, and then allow them to take charge. The students also learn faster when they are allowed to learn in groups. This allows the students to assist each other to learn some of the difficult things when they are free. Children always feel embarrassed when you show them, for example, to read some words but the following day they have forgotten. I have realized that this can make a student even take longer time to learn because of this embarrassment. So I realized that the best thing a teacher can do to prevent this is to start with the most simple concepts of learning, then move slowly to the more difficult ones. By this, the student mind develops, as the concepts become more difficult (Burns & Sandra, 2004). Slowly by slowly the student is able to grasp even difficult concepts without much difficulty. A student also needs a lot of encouragement and praise even if he or she fails to understand what is being taught. This acts as a motivating factor to a student to work harder. References Arends, R. & Kilcher, A. (2009) Teaching for Student Learning, Taylor and Francis. Burns, T. & Sandra, S. (2004). Teaching, learning and study skills: a guide for tutors, New York, SAGE, 2004