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The Director of Communication and Media, Pastor Osagie Ize-Iyamu Campaign Organization, Prince John Mayaki has reiterated his devotion to oust the incumbent Governor of Edo State, Godwin Obaseki over claims of disregard for the rule of law, and unwarranted attacks on voices of dissent in the state.
Prince John Mayaki said this in a statement where he described Pastor Osagie Ize-Iyamu as a better alternative to Obaseki who, according to him, failed to establish any real connection with the people and initiate policies that serve their true needs and have consistently shunned peaceful dialogue and persuasion.
Mayaki said: “Godwin Obaseki and his political minions have revved up their fruitless propaganda and spread of unfounded claims to discredit voice of opposition. In fact, in the past few days, being witness to the progress and successes we have made in the fight against Covid-19, communicating our SIMPLE agenda to the Edo people and the rising popularity of Pastor Osagie Ize-Iyamu, they have zeroed in on our campaign, concocting all kinds of fictitious claims with the intention of causing disunity.”
“However, we remain undeterred in our quest to represent and fulfill the aspirations of Edo people in unseating the incumbent Governor who refuses to give an account of his service. Instead of telling Edo people how he spent over a billion naira in the management of COVID-19, he has tried to shift the goalpost by intensifying attacks on opponents – both real and perceived.
“He may think he is doing himself a favor but Edo people know the truth, that’s why the support for Pastor Osagie Ize-Iyamu has soared in the past few weeks.”
Mayaki also highlighted the refusal of the Deputy Governor, Philip Shaibu, to address the news of the test result of his personal steward to COVID-19.
Website Designing/Management/Social Media – Iyanu Victor
“The Deputy Governor has refused to answer a simple journalistic question on the testing of his steward and his personal precautionary measures to protect self and those who come in contact with him from COVID-19. Instead, he is threatening legal actions with hopes that that would silence those asking. This will fail.”
“Many of us working to deliver the Ize-Iyamu project and actualize the SIMPLE agenda are doing so without any pay or reward because we believe in the project. We are selflessly devoting our time and resources to reposition Edo State,” he said. | https://www.gbetutv.com/i-am-even-more-committed-to-oust-obaseki-john-mayaki/ |
McCain Attacks Bush’s Iraq Policy & ‘Budget Gimmicks’
During a speech in New Orleans, Republican presidential candidate Sen. John McCain attacked President Bush’s policies on the Iraq War, deficit spending and treatment of enemy detainees.
McCain also took credit for the current troop surge, which is having some limited success in Iraq.
“I strongly disagreed with the Bush administration’s mismanagement of the war in Iraq. I called for the change in strategy that is now, at last, succeeding where the previous strategy had failed miserably,” McCain said.
Trending: Red Maryland Candidate Survey: Dalbin Osorio for Montgomery County Board of Education
In an obvious attempt to distance himself from Bush and prove wrong his Democratic opponent Sen. Barack Obama’s charge that voting for McCain would be voting for a third Bush term, McCain said he strongly opposed Bush’s energy and climate policies. | https://redmaryland.com/2008/06/mccain-attacks-bushs-iraq-policy-budget-gimmicks/ |
With the general election just over a month away, time is running out for Gary residents to decide Indiana’s next governor and America’s next president. As Gary’s unemployment rate and economy continue to lag behind the state, the Nov. 8 general election is becoming increasingly important for frustrated voters to voice their disappointment on both state and national levels.
At the center of these frustrations is the state’s Republican leadership, particularly incumbent Governor Michael Pence. Under his leadership, Gary has suffered while most cities in the state have flourished with surging job markets and booming economies.
Meanwhile, Gary’s economy and school district are struggling to rebound, and Pence has often been accused of being out of touch with the needs of the working class and ignoring the economic problems that have plagued cities like Gary. Now, Pence is trying to win the nation’s second-highest office. Both the gubernatorial and presidential races have ties to Gary, and voters who have been frustrated with the state’s leadership can help stop Pence from becoming America’s next vice president.
Time is running out to make a difference next month; Oct. 11 is the deadline to register to vote for the general election on Nov. 8.
In the race for president, Democratic candidate Hillary Clinton is still ahead in the polls against Republican nominee Donald Trump, but sliding poll numbers has her fighting to keep the lead in a race that continues to tighten.
Clinton won favorable reviews after a heated, televised presidential debate on Sept.27. It was the highest viewed debate in the nation’s history. Poised and composed, Clinton persevered as Trump unleashed an onslaught of personal attacks that seemingly backfired and hurt his image in the latest polls.
Both Democrats and Republicans have criticized Trump, who has shown little remorse for not paying millions of dollars in federal taxes over the years. It’s a reality that Clinton reminded a national audience on Monday night. The day after the debate, Trump said the debate was unfair and vowed to unleash harsher attacks in the next presidential debate, which is a townhall format, on Oct. 9.
Trump’s vice presidential nominee, Pence, will debate his opponent, Virginia Senator Tim Kaine on Oct. 4. Since joining the Republican ticket last summer, Pence has expressed the same consecutive views that are at the heart of his policies on abortion as Indiana’s governor.
Those same policies has drawn Pence heavy criticism and made the race to the governor’s mansion easier for John R. Gregg, who is attempting to become the state’s first Democratic governor in 13 years. His opponent, Lt. Governor Eric Holcomb, aims to be the third consecutive Republican to lead the Hoosier State.
On Sept. 27, the candidates squared off in a townhall meeting style debate at Lawrence North High School in Indianapolis. It was the first of three gubernatorial debates for the candidates.
Holcomb has proposed an education plan that would largely continue the policies of Pence. He wants to expand a state-funded pre-school pilot program for low-income families; provide incentives to outstanding teachers; and defend GOP-led expansions of the state’s private school voucher program and the growth of charter schools.
Gregg’s platform involves greater support for struggling communities and cities like Gary. He has called for universal, state-funded pre-schools; abandoning the state’s A-F school accountability system in favor of more comprehensive performance measurements; scaling back the state’s private school voucher program; and halting further charter school expansion.
On Sept. 23, the Indiana State Police Alliance’s Political Action Committee became the latest organization representing public safety to throw their support behind Gregg. The announcement followed the Indiana Fraternal Order of Police’s endorsement of Gregg in August.
On the Republican ticket, Holcomb has toned down the highly-charged conservative climate by aligning himself with socially-conservative policies.
In his campaign, Gregg has re-branded himself as the LGBT-friendly alternative to Pence, whose hard-line religious conservatism placed him at odds with big business and its support of gay and transgender rights.
Pence had faced a tough re-election campaign for governor before abandoning those efforts to become Trump’s running mate. His approval ratings fell as he drew criticism for his handling of the state’s controversial Religious Freedom Restoration Act and support of new abortion restrictions that a federal judge has since ruled unconstitutional.
With the state’s Republican majority and rising opposition to Pence’s conservative policies, it will be a heated gubernatorial race when voters throughout Gary and Indiana go to the polls next month.
Secretary of State Connie Lawson reported there’s been a significant increase in online voter registration in Indiana since Face- book posted an online reminder.
In the race for governor, the political climate may be ripe for Gregg to pull off an important victory for Democrats. The stage may have been set July 15 when Pence accepted an offer to run for the White House against Clinton and Kaine.
Although declining in popularity, Pence was viewed as Gregg’s biggest hurdle to the Governor’s mansion. Despite Indiana’s strong Republican electorate, Gregg almost defeated Pence in the 2012 gubernatorial race, grabbing 46.4 percent of the vote to Pence’s 49.6 percent.
In this election, Gregg just may come out on top. If he becomes governor, millions of state dollars could bankroll Mayor Karen Freeman-Wilson’s plans to turn Gary into a bustling city once again. A loss could be a significant setback to those efforts. | https://chicagocrusader.com/garys-future-stake-election-nears/ |
Please review the Emergency Court Orders entered in response to the COVID pandemic.
As we transition out of the COVID-19 pandemic we have updated the options for appearing in Court and submitting orders to the Commissioners for signature. These policies are effective July 16, 2021.
Spokane Superior Court has established an Eviction Resolution Program to assist landlords and tenants resolve unlawful detainer cases without court intervention.
Superior Court has developed procedures to assist people in accessing the Court during the COVID pandemic.
The Spokane Superior Court Judicial Officers issued at statement to the community addressing their personal and professional commitment to equality.
In response to the State vs. Blake ruling, Superior Court has created a simple motion form along with instructions for those seeking to vacate a Possession of Controlled Substance conviction. | https://www.spokanecounty.org/AlertCenter.aspx?CID=30 |
NEWARK, Del. — Swallowing nervously, Christine O’Donnell, the tea party darling who is running for the Senate in Delaware, plunged into her first public debate Wednesday night with a jab at Chris Coons, her Democratic opponent, a former lawyer who is county executive here.
“My opponent wants to go to Washington and rubber-stamp failed spending bills,” she said. “This is wrong. Uncle Sam needs to be cut off.”
She also wondered about Coons’ patriotism. “If you’ve ever questioned whether America is a beacon of freedom and justice, then he’s your guy.”
Coons, for his part, called O’Donnell a candidate “who wants to take our state and country back to the failed economic policies of the past.” He mentioned his county’s triple-A bond rating — the highest — saying that just 30 out of 3,000 American counties have one.
He mostly refrained from personal attacks, but allowed himself a small, pointed, jab: “Ms. O’Donnell is not familiar with how bond ratings work.”
O’Donnell has been dogged throughout the campaign by questions about her personal finances, and Coons said he believed the issue was “central” to whether she is qualified to be in the Senate.
When a questioner delved into views O’Donnell had expressed in the past, she angrily shot back that she was not seeking media attention.
Asked about evolution, which O’Donnell has in the past said she believes is a myth, she said the question was “irrelevant.” When pushed by Wolf Blitzer, a CNN anchor who was one of the moderators, she said: “Local schools should make that decision.”
On a paper Coons wrote in college, the title of which referred to him as a “bearded Marxist,” he insisted the wording was tongue-in-cheek. “If you take five minutes and read the article, it’s very clear that it’s a joke!” he said in an exasperated tone. “I am not now, and I have never been, anything but a clean-shaven capitalist!”
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We invite you to use our commenting platform to engage in insightful conversations about issues in our community. We reserve the right at all times to remove any information or materials that are unlawful, threatening, abusive, libelous, defamatory, obscene, vulgar, pornographic, profane, indecent or otherwise objectionable to us, and to disclose any information necessary to satisfy the law, regulation, or government request. We might permanently block any user who abuses these conditions. | https://www.eastbaytimes.com/2010/10/13/delaware-senate-hopefuls-debate-policy-and-patriotism/ |
The National Safety Council (NSC) urged President Donald Trump and Vice President Joe Biden to include opioid overdose prevention as part of their coronavirus disease 2019 (COVID-19) recovery plans. COVID-19 is a respiratory disease caused by infection of the SARS-CoV-2 virus.
The NSC also urged the candidates to discuss their strategies around prevention, treatment, and the employers’ role in addressing opioid misuse during their September 29 debate in Cleveland, Ohio. The state has been decimated by the opioid epidemic, according to the NSC. The group had questions about how the candidates would address the opioid epidemic, including how each candidate would support employers working to prevent opioid misuse and supporting their employees in treatment and recovery.
“A national plan to combat the overdose crisis must be part of the broader national strategy to recover from this pandemic and continue after a vaccine is widely deployed,” Jenny Burke, the NSC’s senior director for impairment issues, said in a statement.
The group pointed to a recent study indicating that people with substance use disorders are more susceptible to COVID-19 and its complications.
Ultimately, this issue was not discussed during the debate.
The NSC stated in its letter to the presidential candidates that in June, 40% of U.S. adults reported struggling with mental health or substance use issues, and 13% reported starting or increasing substance use. The group called opioid overdose the single worst drug crisis in U.S. history and said that the coronavirus pandemic is exacerbating the problem.
A decrease in overdose fatalities in 2018 was reversed in 2019, according to the NSC, with preliminary numbers showing a record high of 50,000 fatal opioid overdoses last year. The NSC and a group of companies and organizations offered a National Plan to Address Opioid Misuse for any candidate to use to address opioid misuse in the United States.
The National Plan contains specific recommendations for employers that include:
- Both accommodating employees who are prescribed opioids and enhancing existing drug-free workplace policies to include policies for employees with opioid use and other substance use disorders so they can support employees to return to work during and following treatment;
- Educating managers and supervisors about the signs of opioid misuse so employers can spot symptoms early;
- Having naloxone on-site to counter the effects of opioid overdoses and ensuring that emergency response staff members are trained on how to administer it;
- Expanding employee assistance programs (EAPs) to provide barrier-free preventive services, screening and early identification services, short-term counseling, referral to specialty treatment, and other behavioral health interventions related to opioid use and misuse;
- Expanding health insurance benefits to ensure coverage of non-opioid pain treatment options, including but not limited to non-opioid pharmacology and physical and occupational therapy;
- Ensuring coverage of evidence-based treatment for opioid use disorders and addressing other disparities and gaps in healthcare benefits; and
- Supporting a stigma-free, recovery-friendly workplace culture.
The plan also included recommended prevention, treatment, and recovery efforts, along with widespread availability of naloxone. The plan’s authors included several state safety council chapters, along with The Ad Council, Southwest Airlines, Students Against Destructive Decisions (SADD), and U.S. Steel. | https://ehsdailyadvisor.blr.com/2020/10/nsc-tries-to-draw-candidates-and-employers-attention-to-opioid-overdoses-amid-covid-19/ |
In politics when a candidate is running for election and repeatedly attacks one of his or her political opponents, they are said to be "going negative." When a candidate does this they are switching the focus from promoting their own strengths and merits to focusing on how much worse off they believe things would be if their opponent were elected. When a candidate goes negative, they are trying to create fear, uncertainty, and doubt.. Such tactics are unfortunatelynot limited to the world of politics. In fact, most of us have probably engaged in some form of attempting to lift ourselves up by putting others down, perhaps using statements such as ....
"Our product is so much better than their product-in fact if you buy/use their product you will really regret it."
"That school is not nearly as good as our school - the students there are not nearly as well prepared as our students.
"I"m so glad that our church is so much more enlightened than that other church!"
"We are so much better parents than most of the parents we know."
"We really work at our relationship-not like most couples I know."
We all do it. We compare ourselves to others, and of course we are the ones who inevitably come out looking best in that comparison.
The "meme" at the top of this column was recently posted on our Living Compass Facebook page. It received a great deal of positive reaction, in part, because I think it speaks to this common struggle that we all have of competing with and comparing ourselves to others. I know that when I am most likely to build myself up by putting others down is when I am feeling insecure. I am not proud to say that out of my insecurity I can be critical or others, but it is true.
It takes a lot of energy for a flower to bloom. The same is true for people. When we spend our energy going negative or competing with others, we divert the energy we need to bloom. I know, for myself, it takes all the energy I have to foster the blooms in my own garden. I needn't worry about others as I don't have time and energy to waste pointing out the weeds or lack of blooms in someone else's garden.
What helps you to bloom? If you are like me, there are probably many contributing factors. Hard work, perseverance, a clear and inspired vision, and support from others are a few of the factors that help me bloom--along with a commitment to refrain from going negative and trying to compare myself to or compete with others. There is more than enough room in this world for all of us to bloom. | https://www.livingcompass.org/wwow/room-to-bloom/ |
For the past three years, Milan Tomášik’s interest lies within a movement practice and choreographic research – a scale of muscle tension. Each specific tension, or release determines until certain extend an emotion, therefore general atmosphere. The entanglement of a specific tension in a rhythmical and physically articulated manner with emotions creates contrasting, but related scenes. Here, in a new dance piece for MoDem collective, Milan focuses on a rhythmical dance composition in relationship with emotional states that creates sometimes beautiful, another time obscure landscapes.
Commissioned work for the MoDem collective, a triple bill evening with Maud de la Purification, Milan Tomášik and Roberto Zappala. | https://milantomasik.com/commissioned-work/scenario-pubblico/ |
Kreisleriana, Op. 16, is a composition in eight movements by Robert Schumann for solo piano, subtitled Phantasien für das Pianoforte. It was written in only four days in April 1838 and a revised version appeared in 1850. In 1839, soon after publishing it, Schumann called it in a letter my favorite work, remarking that The title conveys nothing to any but Germans. The work’s title was inspired by the character of Johannes Kreisler from works of E. T. A. Hoffmann. Like the kaleidoscopic Kreisler, each number has multiple contrasting sections, resembling the imaginary musician’s manic-depression, and recalling Schumann’s own Florestan and Eusebius, the two characters Schumann used to indicate his own contrasting impulsive and dreamy sides. | https://happynote.com/music/schumann-kreisleriana-iii-grimaud/ |
Do you really find it difficult to take your thrilling eight-bar loops and produce them into fully-featured songs? Or do you really think about how you can hold your musical arrangement interesting, if yes this article is for you.
The initial situation, and it is a crucial but not seriously an apparent a single, is the fact that you may have to alter your considering the tune – transform your perspective. It is the cue to begin pondering much much more analytically about your track. Rather than just taking into consideration “Do I like it?”, you want to be contemplating additional along the lines like.
“What does it essentially should do? What functions does it must complete?”
This may well sound just a little bit calculating, but it’s important. You will discover particular fundamental points your tune will should do, and understanding that could assist things consider shape. For instance, if you are creating for a rapper, you’ll require a verse / chorus structure, and most rappers prefer to get the job done with sections of 8 or 16 bars. Likewise, if you are writing a track for the DJs and also the dancefloor, then you’ll must give them an intro and outro to mix with, or maybe a trance tune might will need a legendary breakdown. Past this, naturally, your tune will ought to build or modify to hold the listeners curiosity, it might utilize a feeling of stress and resolution – as an example a construct up followed by a full-on section, or maybe a discordant key adjust that then resolves back towards the authentic crucial.
Which means that, individuals will be the fundamental strategies. But we may very well be finding in advance of ourselves. Initially, a fantastic issue to do is obtain a reference track. Discover a track you like, in your design, sit down using a pen and perform a little counting. How long could be the intro? Is there a breakdown? How prolonged are the sections in among the breaks? Really do not be concerned, this isn’t being unfaithful – it’s a lot more like referencing your mixdown towards a nicely made track to create confident the hi-hats sound decent.
After you have acquired an notion of the form with the track, start off sketching yours out in roughly precisely the same way. Yet again, really don’t worry about copying it – no-one ever dislikes an excellent track within the grounds that it has a 64-bar principal part, similar to that other track.
That’s the uncomplicated component, then. From right here it is a case of making certain the track stays interesting enough as it progresses, and the moment once again it could be well worth aiming to your reference track, to see how items create. You’ll likely be working in sections of four, 8, or 16 bars, and these are beneficial signposts to the place new concepts could can be found in, or present ones could drop out. But really do not just get in to the rut of bringing within a new notion each and every eight bars – predictability inside the layout may be as dull as no changes in any way!
For that reason what sort of points could you do to keep your track running nicely ? – Right here are some recommendations:
Drums Sounding Awesome
Include something, or take away anything – building up your percussion lines can add a sense of vitality. If you are writing a progressive genre(progressive samples) like tech-house or minimum, then some thing as simple as adding a hihat can truly give the track a lift. If you’re in a more energetic genre, then consider including a bongo loop, tambourines, ride cymbals and shakers. Keep in mind that dropping percussion out demands a much greater alter to possess impact – consider taking every thing down to just the kick, by way of example. Or, you may get additional inventive – attempt shifting the pitch of several of your loops for any handful of bars, send them to FX channels occasionally for that dubby vibe, or drop in some fills.
The Riffs That Make You Proud
This can be a simple plan, but usually will work properly – just duplicate the melody of your primary lead lines or bass lines, but by using a different synth; and possibly an octave or two up or down. It is going to give the track additional hype, the sound some much more ‘oomph’, and won’t clutter your musical arrangement.
The Harmony and Actual Musical Arrangement
At this point, it is a subject which could get quite complex, but there are a few easy suggestions that you simply could test which shouldn’t be too taxing. As an illustration, a key adjust can give a genuine shift. Probably the most frequent movements are about one, 4 and 5 within your scale; so if you’re in C, try out going as much as F, or right down to G. Or you could include a substantial string line – or test the traditional electro residence trick of doubling your lead riff with something a third (4 semitones) larger. On the melody side, you’ll be able to use some outdated composition tricks to maintain your riff fascinating, like ‘inversion’ – the place you swap the notes close to vertically, so a rising line would become a falling line, or ‘retrograde’ – in which a melody line is played in reverse. I uncover in dance music the most dependable choice might be to transpose by a 7th (up 7 or down 5) this seldom sounds wrong.
Another alternative with a good amount of likely will be to have contrasting sections – say, two complete loops, each using a various bassline and leadline – that you simply can switch between. Then you certainly really don’t just need to produce 1 plan, as well as the alternation brings interest of its personal.
Eventually, it is a case of combining both sides of the equation – have a coherent framework (intro, breakdowns, and so on) and after that make every area maintain the listener’s curiosity by using tactics like those above.
Musical Arrangement: Summing Up
That being said, there’s several ideas for keeping your tracks rolling with out getting uninteresting. You can find plenty additional naturally, but hopefully this will have planted some seeds on the way you can set out your tunes. So, have you been ready to consider your fledgling 8-bar loop out into the world in the five minute track? | https://www.flstudio-samples.com/musical-arrangement/ |
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Three Pastels For Piano & Orchestra
Carl Vollrath composer
Moravian Philharmonic Orchestra | Petr Vronský conductor
Karolina Rojahn piano
On his Navona Records release THREE PASTELS FOR PIANO & ORCHESTRA, composer Carl Vollrath presents his three piano concerti, written between 2012 and 2015. Representing some of his most recent work, these concerti are connected to each other thematically, and in a way portray a different hue of the same color.
Vollrath prefers to regard these works as “pastels” since he approaches them with a functional intention, evoking imagery or scenery in an abstract way, allowing the listener to create their own interpretation. While written in a neo-impressionistic lexicon, these “pastels” are influenced significantly by Stravinsky’s Rite of Spring, Bartók’s piano concerti, Eastern classical scales and folk music, and jazz piano. Performed by pianist Karolina Rojahn and the Moravian Philharmonic Orchestra, conducted by Petr Vronský, the piano and various orchestral sections develop unique characteristics, supporting, contrasting, and complimenting each other. The piano’s lyrical personality weaves itself throughout the works’ movements, from sensual and controlled sections to frantic and spontaneous moments, employing jazz elements, chromaticism, and rhythmic emphasis to develop its narrative. Although these works have passages of dramatic flourish, Vollrath’s sense of lightheartedness remains a building block, placing ironic and witty phrases throughout to deliver a captivating, dynamic, and moving experience.
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Carl Vollrath
Born in New York City to German parents, Carl Vollrath attended Newton High School. He received a B.A. from Stetson University, an M.A. from Columbia University, and an Ed.D. from Florida State University. Vollrath studied composition with Ernst von Dohnanyi Carlisle Floyd, and John Boda. He served with the West Point Military Band at West Point NY from 1953 to 1956 and was a music consultant in Miami FL from 1956 to 1958. He joined the Troy University (AL) faculty in 1965.Major works include six symphonies for band, an opera – The Quest – and a large collection of chamber music, all published by Tap Music (tapmusic.com). MMC Recordings has released three albums of Vollrath’s works, including a two-disc album of clarinet works recorded by Richard Stoltzman entitled Jack’s Fat Cat (2008).
Moravian Philharmonic Orchestra
The Moravian Philharmonic Orchestra is one of the foremost and oldest symphony orchestras in the Czech Republic. It is based in the historical capital of Moravia, the city of Olomouc, and has been a leader of music activities in the region for the past 70 years. Its artistic development was directly influenced by distinguished figures from the Czech and international music scene.
Karolina Rojahn
Karolina Rojahn is a Los Angeles based pianist who has dedicated the last decade of her career to premiering and recording contemporary music repertoire. She has premiered over a hundred new works and collaborated with various classical music labels, most notably Naxos, having released over 43 recordings of chamber and solo piano music, including 5 piano concertos written specifically for her.
Petr Vronský
After successes in several important international competitions for conductors — including the competition in Besancon France in 1971 and the Karajan Competition in Berlin in 1973 — his career began at the opera company in Pilsen. From 1974 to 1978, he was Chief of Opera of the State Theater in Usti nad Labem, Czech Republic. In 1978, he was appointed Chief Conductor of the Brno Philharmonic Orchestra, a position he held until 1991. Vronsky was later appointed Chief Conductor of the Janacek Philharmonic Orchestra Ostrava in 2002. | https://www.navonarecords.com/catalog/nv6039/ |
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Punkademic Music Composition 2: Tension & Release
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This is a class designed for the average person who is ready to take their music career (or music interest) and develop it into something more. Whether you are an active musician or an aspiring musician, this class is perfect for you.
100% Answer Rate! Every single question posted to this class is answered within 24 hours by the instructor.
When most people think of a composer, they imagine someone sitting in a dusty attic with a grand piano, a big white wig, and the year is 1800. That might have been accurate back then, but the modern composer is just like you and me. In fact, I am one.
In this course, I'll show you the techniques I use for writing music in a variety of styles and situations. I've worked with major American orchestras, film studios, and video game designers, so I've got more than a little experience. I'm also a Ph.D. in music composition and a university professor (of music composition).
Recently I was named as a semi-finalist for the Grammy Foundation's Music Educator of the Year award because of my in-person university classes. Now I'm taking those classes to Udemy in an online format in order to reach more students and give them the joy of Music Theory.
I'm planning on making several "sections" of this class, and this is Part 2. As the class grows, we will go deeper and deeper into my techniques. This class is focused on creating a sense of Tension and Release: one of the most fundamental concepts in music composition.
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Composed in 1954 for guitarist Andrés Segovia, Fantasía para un gentilhombre (Fantasia for a Gentleman) was premiered by Segovia and The San Francisco Symphony Orchestra, conducted by Enrique Jordá. Fantasía is Rodrigo’s second most popular work, after his beloved Concierto de Aranjuez.
The Music
Fantasía takes to representing four short dances originally penned by Spanish composer, Gaspar Sanz. Rodrigo keeps the same titles as Sanz, but adapts his music to create a substantial concerto for guitar and orchestra.
Movement I – Villano y ricercar
Opening with a sweet lyrical melody that is passed between the guitar and the orchestra. The atmosphere is warm and welcoming. The passing around of the main theme is shadowed in future movements as a pertinent structural choice from Rodrigo. The quick passing of themes in unison creates unity between the soloist and orchestra, which then makes even more of an impact when solo lines are showcased.
The second half of this movement, called Ricercar, is a short piece that contrasts the Villano. Born from a two-bar phrase, the Ricercar is based around fugal movement. Rodrigo utilises the woodwind here, who supports the soloist in the first section of the Ricercar. As the excitement builds between the soloists repeated phrases and the decorative orchestra, the opening movement comes to a glistening close.
Movement II – Españoleta y fanfarria de la caballería de Nápoles
The somewhat haunting melody that starts the second movement brings back Rodrigo’s beloved lyrical style. By far the longest movement of the four, this movement is drawn out and developed at a much slower pace. The rich orchestral accompaniment elevates the solo lines as melody grows from within. The contrasting central sections, also known as ‘The Fanfare for the Cavalry of Naples, is much faster in tempo and sees the brass and percussion enter the mix. The energetic change is welcomed after the drawn out opening section, however this theme then returns to conclude the movement.
Movement III – Danza de las hachas
The energetic ‘Dance of the Axes’ is pushed forward by the quick dance beats. The intricate call and response figures between the soloist and orchestra creates a fizz around the music that is so exciting to hear. The shortest of the four movements, this dance acts as an interlude between two much heavier movements.
Movement IV – Canario
Based on a folk dance from the Canary Islands by Sanz, Rodrigo pays homage to birds and the island landscapes. The memorable melody is distorted at times due to the use of crunching dissonances, however these are then resolved. The tension is quite high during most of this movement, with the call and response figures once again playing into this structure. The jaunty melody and dissonant harmony work hand in hand to create a colourful take on this classic folk dance from the Canary Islands. The movement concludes the concerto with excitement and joy.
Ⓒ Alex Burns
Happy Reading!
You might also enjoy… Astor Piazzolla: Libertango
Recommended Recordings: | https://classicalexburns.com/2022/07/11/joaquin-rodrigo-fantasia-para-un-gentilhombre-for-the-gentleman/ |
Though he had composed a wealth of chamber, ballet, and operatic works, the purely symphonic form did not interest the Czech-born Martinu before 1942, because he had not felt "sufficiently prepared" for its challenges. This, his first attempt in the genre -- written at the age of 52 -- shows that his awareness of his own abilities was indeed keen, and that his many years of experience were well digested when he set about sketching the Symphony No. 1. The work led a charmed existence from the start: having been in the United States for less than a year, Martinu received funding from the Koussevitzky Foundation (they would eventually commission Martinu's next five symphonic works), and the work was premiered by Serge Koussevitzky and the Boston Symphony Orchestra on November 12, 1942. Koussevitzky remarked to a group of critics that "you cannot change a single note...it is a classical symphony"; the premiere was an outstanding success, moving Virgil Thompson, music critic for the New York Herald Tribune, to remark that Martinu was the successor to his compatriot Smetana.
Martinu utilized several unifying devices to make a cohesive whole of the four movements, while at the same time finding a surprising amount of variety within his material. The opening bars of the first movement, for example -- a dissonant shimmer suspended over an ostinato bass -- appear also in the third movement, returning the listener to his first impression. The main melodic material of the first movement is carried by the violins, supported by a highly rhythmic cello part. The quiet, consonant ending to the movement complements the mysterious introduction, creating a sense of dynamic balance.
The second movement is in three parts; the middle section is devoted to lyrical expression, while the outer sections are devoted to displays of power and speed. In these outer sections, one perceives a march just over the horizon as the brass section takes center stage. The lyrical mid-section relies on the solo voice of the oboe. The third movement begins with a brooding melody in the cellos and basses; with the introduction of winds and the incessant thumping of repeated bass notes in the piano, the tension rises. As with the second movement, a plaintive solo -- this time for the English Horn -- forms the basis for a contrasting middle section.
The finale is hard-driving and rhythmic throughout -- the sheer kinetic energy rarely lets up. The ending is among the most boisterous and exciting to found in a twentieth century symphonic work. | https://www.allmusic.com/composition/symphony-no-1-h-289-mc0002366536 |
The Alexander Technique is mainly taught through one-to-one lessons with a qualified teacher. This ensures that one’s individual needs are addressed.
Initially you work with simple, everyday movements, such as standing, sitting or walking, with special consideration given to the issues you may have come with. Part of the lesson can involve lying on a table so you can experience how your head, neck and back can release constricted muscles, allowing you to increase the capacity for freedom of movement.
The teacher uses explanation and a guiding touch to help you re-discover balance and ease within yourself. Through experience and observation, you learn how your co-ordination works, how you create tension and how you can prevent or release it.
This awareness enables you to change long-standing habits and function more efficiently. You can then use your new understanding and skill in more complex and demanding activities.
BOOKING LESSONS
You can book a lesson with any of the YATC Teaching Team, who teach in venues in York, Pocklington, Cottingham and Howden.
If you are interested in having an introductory lesson, or if you have some experience and want to pursue it further, you can find the contact details below or use the contact form here. | https://www.yorkalexandertechniquecentre.co.uk/individual-lessons/ |
Background:
SEE THE DESIGN BELOW. I really wanted to try and utilize what I learned this week in visual movement and contrast so I decided to try and create a landing page for an app I'm about to start building called, "Arches." Arches is an app that will help outdoor recreationists take full advantage of all the cool things that the National Park features and I wanted to use the actual road map from the park as a visual line that will guide the viewer throughout the landing page.
Contrast:
Since I wanted to make contrast a huge focal point of the design I decided to commit to super contrasting colors in red, white, and black. A majority of the copy is very bold and stands out from the plain white or red background.
Repetition:
The theme is focused on the red map outline throughout the design with small visual sections that act as landmarks of a map. There are six panels in the design to help create a visual consistency in the piece.
Alignment:
Since it is such a huge design, the major alignments are left for the copy but it varies depending on the panel.
Proximity:
Each major section within a panel is broken into a header and copy section to help compartmentalize how the viewer views the landing page in steps.
Skills:
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Text
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Paint Tool
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Layer Mask
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Rulers
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Marquee Tool
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Brush Tool
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Artboards
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Mockups
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Text Effects
Design Considerations:
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Create a design that will ultimately go into my dev portfolio
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Make it a theme based around contrast and visual movement
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Make the Arches road map a focal point (I've wanted to do this for so long)
Credits:
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Typeface: Work Sans, Univers-Black
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Icons: Buttons, Social Media
FULL DESIGN: | https://www.joshtiltondesign.com/arches |
Red (Marimba Duet) by Marc Mellits
Stephen Clark and Mark Owens performing the marimba duet, “Red,” by composer Marc Mellits.
Written by the modern-day American composer Marc Mellits, the marimba duet “Red” reflects Mellits’ influences by minimalist and rock music. Consisting of six contrasting yet connected movements, the piece is largely built around repeated phrases and metric modulation between players. This composition opens with a very “rock-sounding” first movement, then transitions into a harmonically interesting second movement that offers a glimpse of the piece’s ending. The third movement features a sort of “call-and-response” between players, and the fourth a contrasting “rolling section” that helps provide a break in the general furiousness of the piece. A very technically-difficult fifth movement features quick interval jumps within rapid chord changes. Finally, a wild sixth movement changes time signature nearly every measure and leaves the listeners (and players) breathless with hearts pounding. | https://icareifyoulisten.tv/red-marimba-duet-by-marc-mellits/ |
Philosopher Gilles Deleuze argues that when a body encounters another body, it could happen that “one decomposes the other one and is destroying the cohesion of its parts”. I argue that this other body can also be an artwork, which interferes with the borders of the viewer, where he or she is loosing authority and autonomy over the self. Philosopher Julia Kristeva defines the ‘speaking being’, where an identity is never fixed in place, but always delocalized in its form, composition, structure and language. The subject in discussion is one’s personal territory, combined with the destabilization of physical and psychological state.
The collaboration between choreographer Annika Pannitto and me started in 2012. Our project ‘Dances beneath the Oak’ is a sequel of short dances within several group formations, based on different physical principles. We researched, through the disciplines of dance and video we researched how to share a common ground between the performance and the audience and we reflected on how our bodies can relate to space, time and other bodies. We wanted to bring this approach to an art piece and started experimenting with the body and the camera.
Out of the first studies we made, in working with dance and video, we obtained our first result, ‘Tuning and Delay’. In this, dance movements are not based on immersion, coming from outside in, but on an emersion, coming from inside out. The movements are channelled into an endless flow, revealed, repeated and retraced. Tuning is about creating a space, entering the space of the other and about the addiction of this tension. Delay is about one catching the traces which the other leaves behind. Here the catcher is loosing the sense of the self, not only by giving a part of one’s autonomy away, but also by being in the same space with the other body. For the final video Tuning and Delay we decided to move away from the visual traces and effects which we used in our experiments, and to focus on the personality of the dancers and their movements and use the original sound of the space to create a more direct environment.
In Dances Beneath the Oak we focused on the constructive effects that the surroundings can have on one’s borders, by focusing on collectively creating traces and spaces for others and the self, as one moving organism. With this in mind we experimented with video in different ways of dancing for the camera. Here we decided to have the camera fixed on one point and used the principle of moving the centre of the body, to let the bodies ‘pass by’ the camera lens. We worked with the camera as the fixed and framed eye of the audience. An important question for translating the choreography into a video work was: When is a video a documentation of a dance? When is a video a dance video? And how to create a tension between the two?
‘Consequential Movement’ is our second video work. The dance Consequential Movement is about a physical practice where movement is a chain of events that finds its articulation in the body. With this last video we explored working with different borders of the dancers together with the camera. We didn’t instruct the dancers to only move for, but also with, the camera. Therefore the camera, and the viewer, becomes involved as a part of the space of the dancers. To explore this further we also worked with the medium of video itself, by showing the contrast between sharpness and blurring of the image, the effect of directing the dancers, and the different roles the dancers take; the change from the formal performer to the informal self. Where moments of pressure and release finds place.
This collaborating research project in an ongoing project. For the next step in our experiment we will work on, and with different possibilities of integrating video and dance into a performance and will try to create a dialogue between them. | http://www.kimschonewille.com/dances-beneath-the-oak/ |
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Bandera, Eric
Title
Reflections
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Descript
83 p
Note
Source: Masters Abstracts International, Volume: 45-02, page: 0519
Adviser: Frank Stemper
Thesis (M.M.)--Southern Illinois University at Carbondale, 2006
Reflections is a three-movement instrumental composition for full orchestra. Employing standard instrumental combinations of the orchestra, this composition is neoclassic in many ways. The creative uniqueness comes from combining elements of earlier compositional styles to create something new and different. In particular, compositional forms and devices taken from contrasting eras of music are juxtaposed to create something unlike any of the constituent styles
There are various harmonic schemes that play important roles throughout the duration of the three movements. These harmonic schemes help to provide homogeneity between the three movements and also provide thematic artistic congruency. The harmonies are also used to create and evade anticipation, usually to the end of a formal section or entire movement. By combining unlike elements on both stylistic and harmonic levels, this piece achieves its own voice through the juxtaposition of ideas
School code: 0209
DDC
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Masters Abstracts International 45-02
Subject
Music
0413
Alt Author
Southern Illinois University at Carbondale
Record: | https://las.sinica.edu.tw/search~S0*chi?/aBandelli%2C+Daniela%2C/abandelli+daniela/-3,-1,0,B/frameset&FF=abandera+eric&1,1,?save=b3786366 |
French instrumental music during the nineteenth century generally was the poor sister of opera in that country, despite American familiarity nowadays with the instrumental works of Berlioz, Saint-Saëns, and Franck. It is to Edouard Lalo’s relentless pursuit of the composition and performance of chamber music that much of its renewed strength was achieved during the middle of the century. Today, Lalo’s fame in France is primarily based upon his masterpiece, the opera, Le roi d’Ys (1888), based upon the Breton legend of the sunken city in Douarnenez Bay, near Brest. Nevertheless, his world wide reputation is largely founded on his ever-popular violin concerto, somewhat misleadingly entitled a “Spanish symphony,” but almost universally referred to as “the Lalo.” Lalo was a fine violist and violinist, and composed a number of concertos for both violin and orchestra, as well as a piano concerto and other orchestral works. But, the Symphonie espagnole is the one.
It was given its première in 1875 by the famous virtuoso, Sarasate, the year after its composition, and it has since not left the repertoire. It exhibits most of the composer’s signature characteristics: deft and attractive orchestration, bold harmonic color, shifting dynamic accents, and a fondness for vivacious jig-like rhythms. The work, so infused with Spanish elements, is simply filled with an ingratiating swagger and élan that never fails to appeal. It consists somewhat unusually of five movements, rather than the conventional three.
The first movement is dynamic, dark and forceful in the minor mode. But, the second is a light dance in a more upbeat mood that entertains with a characteristic Spanish alternation between a two and a three-beat feel. Lalo originally wrote only four movements—in the typically form of a “symphony,” but before the première, at his friend, Sarasate’s request, he added an intermezzo in between movements two and three. It’s based upon the familiar habanero rhythm, and much of the appeal of the movement occurs when the main theme is passionately “dug” out of the low g-string of the violin. The fourth (slow) movement begins with an introduction that evokes Mendelssohn or Schumann, followed by both dark and light introspective materials for the soloist to explore, before ending gently. The fireworks now arrive in the last movement. It begins with an airy and skipping theme in Lalo’s characteristic triple time and syncopated accents. The form of the movement is our old friend, the rondo, so expect familiar sections interspersed with new and contrasting ones, all filled with virtuoso “tricks”—pizzicatos, quick alternation between high and low registers, and glissandos, among others. A slower middle section is reminiscent of the traditional Spanish dance, the malagueña. It’s all immensely entertaining--no wonder that audiences have never failed to respond to this scintillating composition. | https://runyanprogramnotes.com/edouard-lalo/symphonie-espagnole-op-21 |
Imagine how it would feel to change the relationship you have with your body-mind. To be able to have enough time to really sense and feel subtle gentle movements from within a comfortable easeful range of motion and explore how using Somatic Movements helps you to Release Tension at a deep level.
At this Special Somatic Sunday Workshop you will be guided through a series of gentle moves, mainly mat-based in supine (laying down) or side-lying or seated.
No experience of either Yoga or Pilates is required, but do come with an open mind and a desire to explore and discover. Somatic Moves place Attention on the Internal Sensations of Movement and this helps you to understand and identify habitual areas of muscular tension in your own body. Somatic Moves are enjoyed with the Least Possible Effort and without pain which is why they are so beneficial to those suffering from back trouble or healing from a regional injury, such as neck or shoulder pain.
Workshops are held in the lovely light, airy, space of the Main Hall at The Limes Centre. | https://www.yogaros.co.uk/workshops.html |
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In such xerophytes the leaves are either scale-like or very small in size. Fakir droplets, Nature Materials 2002, 1, 14. The proteins and chitin are cross-linked. What plants have a waxy cuticle? The cuticles of plants function as permeability barriers for water and water-soluble materials. The cuticle on this epidermis is unusually thick,almost one-half the thickness of the lumen of the cell. Water tissue develops in them for storing up water; this is further facilitated by the abundance of mucilage contained in them. The main structural components of plant cuticles are the unique polymers cutin or cutan, impregnated with wax. ... slits in leaves' cuticles that enable plants to exchange gases: their openings and closings are regulated by guard cells. Supporting this possibility, abcg5 cotyledons had increased cuticle permeability, reduced cuticular wax contents, and a much less dense cuticle layer than the wild type. Cuticles minimize water loss and effectively reduce pathogen entry due to their waxy secretion. The walls of epidermal and sub-epidermal cells are frequently lignified, and distinct hypodermis may be present. Both epipetric (growing on rocks) and epiphytic ferns may show structural adaptations to dry habitats similar to those of some desert plants. In some plants the photosynthesis takes place in the stem where assimilatory tissues are well- developed. In extreme xerophytes the cuticle may be as thick as, thicker than, the diameter of the epidermal cell. The hypodermis of the stems seems to be a part of the cortex. Xerophytes are plants that live in desserts. Its film covers both the top and bottom of leaves and other dermal areas of the plant, encapsulating the uppermost epidermal layer of plant tissue. Generally the depressions attack of wind gusts. It consists of cutin, a waxy, water-repellent substance allied to suberin, which is found in the cell walls of corky tissue. Like most succulent plants, cacti possess a thick, waxy outer covering known as a cuticle. In the xerophytic leaves the palisade is abundant and completely arranged. The xerophytes that contain abundant hairs, on their leaves and stems, are commonly called trichophyllous. They don’t have thick stems. Modification of the stem into the phylloclade for storing water and food and at the same time performing functions of leaves is characteristic of many desert plants (viz. Along with well-evolved cutinized layers the epidermal and subepidermal cells also become lignified. Plants that live in the desert are more likely to have a thick cuticle. Plant Structure: Hydrophytes plant structure is simple. In several xerophytic plants, especially those of alpine regions exposed to strong winds, a covering of matted epidermal hairs on the underside of the leaves prevent water loss. These plants have several characteristic features to resist drought. In the end, the researchers measured the exoskeletons and found that cuticles in bacteria-free ants were about half as thick. BOT 3015L (Sherdan/Outlaw/Aghoram); Page 10 of 12 Specimen 9: Cross-section through a pine needle Conifers tend to be drought-tolerant plants. Generally they are not found in the mature plant, or they persist as small scales or bracts. The alternative term "pileipellis", Latin for "skin" of a "cap" (meaning "mushroom") might be technically preferable, but is perhaps too cumbersome for popular use. The xerophytes commonly have a large proportion of sclerenchyma in their leaf structure than is observed normally in mesophytes. The leaf is sometimes cylindrical or rolled. This adaptation is not purely the physical and chemical effect of a waxy coating but depends largely on the microscopic shape of the surface. To retain the water absorbed by the roots; the leaves and stems of certain plants become very thick and fleshy (viz., Aloe, Agave). In leaves such tissues are situated beneath the upper or the lower epidermis or upon both sides of the leaf and sometimes in the centre too. Some fleshy leaves (viz., Sedum), contain abundant thin-walled cells, the water storage tissue. The waxy cuticle helps prevent water loss as it is impermeable to evaporation, meaning that water cannot travel through the waxy cuticle to evaporate. The cuticle can also have a secondary defensive role, as seen in this painfully prickly leaf of the hedgehog holly Ilex aquifolium 'ferox', which is covered in cuticular spines.In general, leaves of evergreens, that survive for several years before they are shed, tend to have thick cuticles that protect the leaf against herbivore attack throughout their extended life. -Leaf with a thick, waxy cuticle-Compound leaves-Lobed leaves-Leaf with hairs (trichomes) on at least one surface-Leaf with palmate venation-Leaf with pinnate venation Palmate vs. Pinnate Venation The major leaf vein, or midrib, is a central vein connected to the leaf petiole, that links the leaf to the plant vascular system. "Cuticle" is one term used for the outer layer of tissue of a mushroom's basidiocarp, or "fruit body". The cuticular membrane or plant cuticle is an extracellular composite structure made up of cutin and waxes. The sclerenchyma is either found in groups or in continuous sheets. Many fleshy xerophytes contain water storage tissue and mucilaginous substance in them. Opuntia and other cacti). Mesophytes have a well-developed plant structure. Hairs can also be abundant over the entire aerial part of the plant. In zoology, the invertebrate cuticle or cuticula is a multi-layered structure outside the epidermis of many invertebrates, notably roundworms and arthropods, in which it forms an exoskeleton (see arthropod exoskeleton). The storage cells are visually large and often thin- walled, as in Begonia.
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Answer: The waxy cuticle prevents the entire leaf from losing water from it surface and dehydrating: when the stomata close they prevent water loss from inside the leaf. The leaf is now totally sealed off.
The plant cuticle is one of a series of innovations together with stomata xylem and phloem and intercellular spaces in stem and later leaf mesophyll tissue that plants evolved more than 450 million years ago during the transition between life in water …
Tue Jun 11 2002 14:30:00 GMT-0400 (Eastern Daylight Time) · In botany a stoma (from Greek στόμα “mouth” plural ” stomata “) also called a stomate (plural “stomates”) is a pore found in the epidermis of leaves stems and other organs that controls the rate of gas exchange.The pore is bordered by a pair of specialized parenchyma cells known as guard cells that are responsible for regulating the size of the stomatal opening.
Plant cuticle – Wikipedia
Transpiration – Wikipedia
Transpiration – Wikipedia
Guard cell function . Guard cells are cells surrounding each stoma. They help to regulate the rate of transpiration by opening and closing the stomata . Light is the main trigger for the opening or closing. Each guard cell has a relatively thick cuticle on the pore-side and a thin one opposite it.
Sun Jun 02 2002 14:30:00 GMT-0400 (Eastern Daylight Time) · Desert plants have specially adapted structures such as thick cuticles reduced leaf areas sunken stomata and hairs to reduce transpiration and conserve water. Many cacti conduct photosynthesis in succulent stems rather than leaves so the surface area of the shoot is very low. | https://answersmcq.com/answer-how-would-the-cuticle-and-stomata-work-together-to-maintain-a-leafs-function/ |
Transpiration - What and Why?
Transpiration - What Controls Rates of Transpiration?
This lesson and its animation follows the journey of water through a plant from its uptake by roots to its evaporation from the leaf surface. How this journey is altered by plant characteristics such as stomata and cuticles as well as by changes in the environment will be described.
Click on Transpiration button found under Lesson Media Objects to the left in order to view the animation which supplements this lesson. You can also click on the animation icon within the text.
Transpiration is the loss of water from a plant in the form of water vapor. Water is absorbed by roots from the soil and transported as a liquid to the leaves via xylem. In the leaves, small pores allow water to escape as a vapor and CO2 to enter the leaf for photosynthesis. Of all the water absorbed by plants, less than 5% remains in the plant for growth and storage following growth. This lesson will explain why plants lose so much water, the path water takes through plants, how plants might control for too much water loss to avoid stress conditions, and how the environment plays a role in water loss from plants.
Define transpiration and explain why it occurs in plants.
Follow the pathway that water takes through plants from root uptake to evaporation at leaf cell surfaces.
Describe how the driving force for water movement and any resistances to its flow through the plant are the two major components controlling rates of transpiration.
Describe how environmental conditions alter rates of transpiration.
Explain how the plant is able to alter rates of transpiration.
Development of this lesson was supported in part by the Cooperative State Research, Education, & Extension Service, U.S. Dept of Agriculture under Agreement Number PX2003-06237 administered by Cornell University, Virginia Tech and the American Distance Education Consortium (ADEC) and in part by the New Mexico and Nebraska Agricultural Experiment Stations.
Any opinions,findings, conclusions or recommendations expressed in this publication are those of the author(s) and do not necessarily reflect the view of the U.S. Department of Agriculture. | http://passel.unl.edu/pages/informationmodule.php?idinformationmodule=1092853841&topicorder=6 |
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Published byAlyson Morefield Modified over 2 years ago
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B4 a-d Pig (H)
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What is the job of air spaces?
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Allow gases to diffuse from palisade cell to air/air to palisade cell
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List 3 adaptations of a leaf for efficient photosynthesis
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Broad (large surface area) This (short diffusion distance) Palisade cells have many chloroplasts (containing chlorophyll) Veins bring water/remove sugar Stomata allow carbon dioxide in/oxygen out Transparent epidermis Palisade cells near top of leaf Air spaces Large surface area to volume ratio
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What is osmosis
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Diffusion of water from a high water concentration to a low water concentration across a partially permeable membrane
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What will happen to a red blood cell if you inject pure water into your veins?
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Water will enter the cell by osmosis until it bursts
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Explain the importance of osmosis in plant support
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Water enters cells by osmosis Increased volume of water inside vacuole pushes out against cell wall Cells are turgid (stiff) Turgid cells support plant
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What is the job of tube Z?
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Transporting sugars around the plant
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What is this device called and what is it for?
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Potometer Measuring water uptake (allow transpiration) in a plant
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Why does increasing the wind speed increase the rate of transpiration?
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Water vapour is removed from outside the stomata Increased the concentration gradient between air space and air Faster diffusion
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List 2 ways desert plants are adapted to reduce water loss
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Extra thick waxy cuticle Few stomata/stomata often closed Stomata in pits/surrounded by hairs Small leaves (reduced surface areas)
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HOW do stomata close at night?
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Photosynthesis stops Glucose used up by respiration Water concentration in guard cell increases Water leaves guard cell by osmosis Guard cell becomes flaccid and changes shape Stomata closes
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Why does a plant need magnesium?
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To make chlorophyll (for photosynthesis)
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What will a plant look like if it is grown with very little nitrate?
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small
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How do minerals enter a root hair?
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Active transport
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How is active transport different from diffusion?
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Moves substances from low to high concentration Requires energy
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What are the functions of phloem?
-Dissolved assimilates, Up or down
What are the functions of xylem?
-Water and minerals, up
-Fibres to help support the plant
-Parenchyma cells which act as packing tissue to separate and support the vessels
What is vascular tissue?
Made up of cells specialised for transporting fluids by mass flow
Why is demand for oxygen low in plants?
Plants aren't very active and their respiration rate is low
How are xylem and phloem arranged in young root?
-Central core of xylem often in X shape
-Phloem is found in between the arms of the X shaped xylem tissue
-This arrangement provides strength to withstand the pulling forces to which roots are exposed
-Sheath of cells around vascular bundle called endodermis
How are xylem and phloem arranged in the stem?
-Vascular bundles found near the outer edge of the stem
-Xylem found towards the inside and phloem towards the outside
-Layer of cambium in between xylem and phloem
-Ring of vascular tissue under bark provides strength and flexibility
How are xylem and phloem arranged in the leaves?
-Vascular bundles form midrib and veins of a leaf
-Xylem is on top of the phloem
What does lignin do?
-Impregnates the walls of the cells making them waterproof
-This kills the cells
-Strengthens cells
What are bordered pits?
-Places where lignification is not complete
-Allow water to leave one vessel and pass into the next
-Allow water to leave the xylem and pass into the living parts of the plant
How is xylem adapted to its function?
-Made from dead cells aligned to form a continuous column
-Tubes are narrow so the water column doesn't break easily
-Bordered pits allow water to move sideways
-Lignin in the walls
-No cell contents
What is phloem made up of?
-Sieve tube elements
-Companion cells
How are sieve tube elements adapted?
-No nucleus and little cytoplasm
-Perforated cross-walls called sieve plates
How are companion cells adapted?
-Large nucleus and dense cytoplasm
-Lots of mitochondria to produce ATP needed for active processes
What are the gaps in cells walls between 2 cells called?
Plasmodesmata
What are the three pathways water can take?
-Apoplast (through spaces between cell walls)
-Symplast pathway (Water enters through plasma membrane and then passes through plasmodesmata from one cell to another)
-Vacuolar pathway (Similar to Symplast but water passes through vacuoles as well as cytoplasm)
What is the water potential of pure water?
0
What happens when you put a plant cell in pure water?
-Water moves into the water by osmosis
-water potential of cell lower than of water
-Cell becomes turgid
What happens when you place a plant cell in a salt solution?
-Water moves out of the cell
-Water potential of the cell higher than the solution
-Tissue becomes flaccid
-Cytoplasm no longer pushes against cell wall, plasmolysis
What happens when 2 cells with different water potentials are next to each other?
Water moves by osmosis down its concentration gradient into neighbouring cell until water potentials are equal
What is a potometer?
A device that can measure the rate of water uptake as a leafy stem transpires
What is transpiration?
The loss of water vapour from the aerial parts of a plant, mostly through the stomata in leaves
What happens during transpiration?
-Water enters leaf through xylem and moves by osmosis into the cells of the spongy mesophyll
-Water evaporates from cell walls of the spongy mesophyll
-Water vapour moves out of the leaf by diffusion through the open stomata
Why is transpiration important?
-Transports useful mineral ions up the plant
-Maintains cell turgidity
-Supplies water for growth, cell elongation and photosynthesis
-Supplies water that evaporates and can cool down the plant
How does light intensity affect transpiration rate?
-In light stomata open to allow gaseous exchange for photosynthesis
-Higher light intensity increases transpiration rate
How does temperature affect transpiration rate?
-Increase rate of evaporation from cell surfaces so there's a higher water potential in the leaf
-Increase rate of diffusion through stomata because water molecules have more kinetic energy
-decreases water potential in air so water vapour diffuses out of stomata quicker
-Increases transpiration rates
How does relative humidity affect transpiration rate?
-Smaller water potential gradient between air in leaf and outside leaf
-Decreases transpiration rate
How does air movement affect transpiration rate?
-Air moving will carry away water which has just diffused out of the leaves
-This will maintain a higher water potential gradient
-Increases transpiration rate
How does water availability affect transpiration rate?
-If there is little water in the soil then water lost can't be replaced
-Stomata will close and plant will wilt
-Decreases transpiration rate
How does water get from the soil across the root into the stem?
-Root hair cells absorb mineral ions and water from the soil (mineral ions actively transported)
-Water moves by osmosis down its water potential gradient to the endodermis
-Can only move by Symplast pathway after casparian strip because it blocks the apoplast pathway
-Mineral ions actively transported into medulla and water follows because water potential is lower
What is the role of the endodermis?
-Caspian strip blocks apoplast pathway and ensures water and mineral ions enter the cytoplasm
-Plasma membrane contain transporter proteins
What is mass flow?
Flow of water and mineral ions in one direction
What is root pressure?
-Moving minerals into medulla by active transport draws water into the roots by osmosis
-Pressure in the medulla builds up and forces water into the xylem
-Can only push water a few metres up the stem
What is the transpiration pull?
-Loss of water from leaves must be replaced from below
-Water molecules attracted to each other by cohesion, this holds water molecules in a long chain
-As molecules are lost the chain is pulled up, this creates tension
What is capillary action?
-Adhesion attracts water molecules to the sides of the xylem vessels
-Xylem vessels are narrow so water can be pulled up the sides of the xylem
What is adhesion?
The attraction between water molecules and the walls of the xylem vessels
What is cohesion?
The attraction between water molecules caused by hydrogen bonds
What is a hydrophyte?
A plant adapted to living in water or where the ground is very wet
What is a xerophyte?
A plant adapted to living in dry conditions
How do plants reduce water loss?
-Waxy cuticle will reduce water loss through the epidermis
-Stomata found on the under surface of leaves
-Stomata close at night
-Some plants loose leaves in winter when the ground is frozen
-Rolled leaves
-Stomata in pits which are flooded and covered by hairs
-Dense spongy mesophyll
-Lower water potential in leaves (high salt concentration)
How is marram grass adapted?
-Rolled leaves so air is trapped inside
-Thick waxy cuticle
-Stomata on inside of leaf in pits covered by hairs
-Dense spongy mesophyll
How are cacti adapted?
-They are succulents (store water in their stems)
-Leaves reduced to spines to reduce surface area
-Stem is green for photosynthesis
-Roots are very widespread
How are water lilys adapted?
-Many large air spaces in leaves to make them float and absorb sunlight and then allow oxygen to diffuse quickly to the roots for aerobic respiration
-Stomata on upper epidermis so they're exposed to air
What are hydathodes?
Special structures which can release water droplets that can then evaporate
What is a sink?
A part of the plant where materials are removed from the transport system
What is a source?
A part of the plant that loads materials into the transport system
What is translocation?
The transport of assimilates throughout a plant
What is active loading?
-H+ ions pumped out of cells using ATP
-H+ ions diffuse (facilitated diffusion) back in bringing sucrose molecules with them (can only get through cotransporter proteins if attached to sucrose)
-Sucrose concentration in companion cell higher so it diffuses into phloem through plasmodesmata
How does sucrose move through phloem?
-By mass flow
-Flow caused by difference in hydrostatic pressure between 2 ends of the tubes
What direction does the sucrose flow in?
-Any direction (not all at once)
-Water leaving tube at sink reduces pressure
-Water entering at source increases pressure
-Pressure gradient
What areas could be sources and sinks?
-Anywhere in plants
-Example of source could be roots
-Example of sink could be leaves or cells that are using sucrose
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The plants present there are adapted to survive under very less supply of water in their habitats. The plants should withstand the arid conditions, low humidity and high temperature present in the habitat.
Plants that grow in dry habitats or xeric conditions are called xerophytes.
The plants develop special structural and physiological characteristics to suit the following conditions:
1. To absorb as much water as they can from the surroundings.
2. To retain water present in their organs for a longer time period.
3. To reduce or minimise the rate of transpiration.
4. To reduce the usage or consumption of water.
Adaptations present in Xerophytes plants:
The morphology of the xerophytes has been modified to suit the needs of the habitat. The xerophyte plants have:
1. Well developed roots: The roots are well developed and branched to a greater extent. The roots grow very deep into the earth and reach layers where water is available in plenty. There is the presence of root hairs developed densely, which enables the root to absorb a sufficient quantity of water. Examples include Calotropis.
Calotropis
2. In Opuntia and Aloe barbadensis miller (Aloe vera), there is succulent stems and leaves which contains parenchymatous tissues. The parenchymatous tissues help to store an excess quantity of water. This makes the stem swollen and fleshy.
Opuntia
Aloe vera
3. In many xerophytes, the leaves are reduced and small-sized with thick cuticles and dense, waxy coating. Examples include acacia.
Acacia arabica
While in some plants like Opuntia, the leaves are reduced and modified as spines.
4. Some xerophytes are short-lived. During the critical dry periods, it survives in the form of seeds and fruits with hard, resistant seed coats. When the favourable condition begins (very short duration), the seeds germinate into new plants, which complete the life cycle (when sufficient moisture is available).
Reference: | https://www.yaclass.in/p/science-state-board/class-9/environmental-science-6233/adaptation-in-plants-animals-and-conservation-of-water-6455/re-3d5589ef-b020-41e6-b8ab-b052a3575a7b |
What Does Adaptation Mean? • The special characteristics that enable plants and animals to be successful in a particular environment.
What are some reasons animals adapt? • Make a list on your paper and be prepared to share with the class.
Adaptations are the result of evolution • Adaptations occur because of natural genetic variations in a species or because of genetic mutations or changes! • All species have a natural variety within them. • Some of the variations and mutations can help an animal or plant to survive better than others in the species.
What are some adaptations that you know about already? • Make a list on your paper and be prepared to share with the class.
Some examples • Fish have gills. These gills allow fish to breathe underwater. Without gills fish would not be able to survive in their habitat. • Why can’t we breath under water? • Why do whales and dolphins have to come to the surface of the water?
Examples continued • Birds have strong, hollow bones. These hollow bones make birds very light. This is why they are able to fly. Respiratory air sacs also form air pockets in the birds hollow bones. • If they had bones like humans, would they be able to fly? • What are some birds you know of that can’t fly? Why can’t they fly?
Examples continued • Plants have xylem so that they can transport water and other nutrients from the root system to the rest of the organism. • What would happen if they didn’t have xylem?
Structural Adaptations • Structural adaptations are physical features of an organism like the bill on a bird or the fur on a bear.
Behavioral Adaptations • Behavioral adaptations are the behaviors organisms do to survive. For example, hibernation, bird calls, and migration are behavioral adaptations.
You will be shown several pictures of Adaptations.please indicate on your paper if these are structural or behavioral adaptations.
Animal Adaptations to Specific Biomes • Animals will adapt to their surroundings. Animals of similar species can adapt to survive in many different environments. • You will now be shown several different biomes and how the plants and animals in those biomes have adapted to survive.
Plants have many adaptations to cope with the lack of water in the desert. • The barrel cactus has an expandable stem for storing water. • Some other plants have adaptations that reduce water loss from their leaves (this is where most water is lost) • Some have a waxy coating on their leaves • Some have small leaves or no leaves at all
All plants lose water through transpiration (the process of water evaporation through specialized openings in the leaves called stomata, seen in this picture). • The stomata of some desert plants like bitterroot are smaller and there are less of them. • Many desert plants open their stomata only at night, since there is less water loss when it is cooler.
Annual Plants- annual plants on the desert survive periods where water is in short supply because their seeds germinate only after heavy rain, grow rapidly, and live their whole life-cycle in just a few days. • Perennial Plants- they endure the dry periods and make the most of the scarce water supplies. • Grasses have large and complex root systems that allow them to collect water over a wide area. • Bunchgrasses grow in isolated tufts. This reduces competition between plants and assures each tuft of grass its own territory from which to draw water. They also grow tightly together which also conserves water that would be evaporated by the wind.
Suffrutescent Shrubs- are perennial plants that use the strategies of both annuals and perennial plants. They maintain a woody base throughout the year, but grow leafy shoots in the spring to allow them to utilize water. These shoots die back when water is not available. • Example: Nuttall Saltbush
Some plants, like sagebrush, look dull gray. This is because they are covered in tiny hairs . Leaf hairs reflect the rays of the sun and protect it from being dried by the wind. • Big Sagebrush grows two sets of leaves. Large leaves in the spring that allow the plant to take in water and grow rapidly. These fall off in the summer. The smaller leaves that grow allow for less evaporation and conserve water. • Sagebrush also survives due to its three level root system. These allow the plant to obtain all available water.
Some plants, like Rabbitbrush, have very small leaves. This helps them conserve water. • Whenever there is plenty of water, the Prickly Pear Cactus collects moisture in the spongy tissue of its enlarged stems, called pads. The cactus can then draw on this stored supply when the weather turns dry.
Conserving water is important for desert mammals. Some small mammals: • Have no sweat glands • Pass no urine or very concentrated urine like the kangaroo rat. • Acquire all or most of the moisture they need from the food they eat.
Almost all animals in the desert stay out of the sun during the hottest part of the day. They stay deep underground in burrows where it is much cooler. • Most animals get their water from the food they eat. Green leaves contain a lot of water. Carnivores get water from the bodies of their prey, which contain liquid in the blood and tissues.
There are a few animals that can be seen during the day. These animals protect themselves from the heat by staying in the shade.
The ability to fly allows birds to cover great distances in search of food and water. Because flight generates a lot of heat, birds are naturally adapted to high body temperatures. • Flight also enables a bird to leave areas of extreme hot or cold and to move to a more temperate climate. • Feathers also help insulate birds from the heat of the sun.
Owls and nighthawks gape open-mouthed while rapidly fluttering their throat region to evaporate water from their mouth cavities. • Many birds are active primarily at dawn and within a few hours after sunset, retiring to a cool, shady spot for the remainder of the day.
Bats, most rodents and some larger mammals, like coyotes and skunks, are nocturnal. This means that they are active at night when it is cooler and sleeping during the hot daylight hours.
The mule deer and the elk are crepuscular during times of extreme temperatures, which means they are active for a few hours at dusk and dawn.
Migration is another behavioral adaptation some large mammals like elk and pronghorn rely on to survive harsh temperatures.
Several animals have evolved long appendages to dissipate body heat into their environment. • The enormous ears of the jackrabbit and mule deer release body heat when the animal is resting in a cool, shady location.
To survive extreme temperature, marmots and other small mammals may enter a state of suspended animation called estivation. During estivation the animals breathing, heartbeat, and other body processes slow down. • Large animals like elk have thick coats. This helps insulate their bodies against the heat. • Some animals have lighter colored coats which reflect more light than a dark coat.
Reptiles have thick skin that minimizes water loss. • Reptiles are “cold-blooded” (their body temperature stays about the same as the temperature of their surroundings). These animals survive by avoiding extremely high or low temperatures. • Many reptiles are only active at night. Those that are active during the day keep moving from sunny places to shady spots.
Some lizards have longer legs, so they absorb less surface heat while running. • Reptiles can also enter estivation. • When the desert cools down the reptiles lose their body heat. During the day, they will sunbathe on rocks in order to raise their body temperature. • If the desert has harsh winters, the reptiles will hibernate.
Plants in the rainforest have adaptations that enable them to shed water efficiently. • The leaves of many rainforest plants have drip tips for this purpose. • Tropical rainforest plants also have adaptations to take in what little sunlight is available on the dark forest floor.
Large leaves are common; they increase the amount of sunlight a plant can capture. • Other plants, like orchids, bromeliads and ferns, grow as epiphytes (a plant that grows on another plant upon which it depends for mechanical support but not for nutrients) high up in the canopy where there is more sunlight.
The strangler fig needs sunlight to grow and reproduce. Seeds falling to the ground quickly die in the deep shade and infertile soil of the tropical rainforest. • Its seeds are deposited on branches of host trees by birds and small animals that have eaten the fruit of the strangler fig. The seeds sprout and send a long root to the ground. • This root rapidly increases in diameter and successfully competes for the water and nutrients in the soil. • As the strangler fig matures, branches and leaves grow upwards creating a canopy that blocks sunlight from the host tree. • Additional roots are sent out and wrap around the host tree, forming a massive network of roots that strangle and eventually kill the host. | https://fr.slideserve.com/rkuykendall/adaptations-powerpoint-ppt-presentation |
An adaptation is an evolutionary process of a living species to live in its habitat or habitats and capable to reproduce. As the environment is not a permanent existence, the organisms have to keep adapting to the changing environment. Adaptation is a process which runs parallel to evolution. Today, if we see species like dinosaurs extinct, it is because they could not adapt to the changing environment. As we study evolution, we also notice the various stages man has been through before becoming the modern man. It is all a part of ecological adaptations.
We can see a number of lie examples of adaptations in our day to day life as well. Usually, whenever we go out in the hot sun for a long period of time, we get a tan. This tan is how our skin adapts to the heat and UV radiation from the sun. As the exposure to heat and UV rays increases, the melanocytes present on skin increase the production of melanin. It is a pigment that absorbs the heat and also protects the nucleus, thus protecting the DNA from mutation due to UV rays.
We see a number of adaptations in animals as well. The giraffe that we see today as the tallest animal, wasn’t so tall many years ago. It was the competition with other herbivores for the bushes that lead to increasing the length of the neck in giraffes as they tried to reach for the leaves of taller trees.
Looking for other examples of animal adaptation, the animals found in extremely cold weather have smaller limbs and ears. This provides smaller surface area and hence, the loss of heat is less from the body. Some of the animals also have thick fur or fat around their body to increase the insulation for fighting against the cold weather.
The plants and animals in deserts adapt themselves to minimize water loss from the body. For example, the camel has special storage tanks in their humps which help in storing water. They can survive for days without drinking water as they keep on utilizing the water stored in their body. The desert plants include cactus which has leaves reduced to spine and stem covered with a waxy coat to minimize the loss of water from the plant.
In humans, we see adaptations like an increase in Red Blood Cells count and rate of breathing in higher altitude as the oxygen concentration decreases there.
All the adaptations in animals and plants do not just show physical changes. Some show behavioral changes as well. Some animals hibernate to escape the cold of the winter and some birds migrate to warmer places.
All this adaptation in animals and plants shows how nature balances itself.
We thus learned in brief what adaptation is? For more detailed information, visit Byju’s. | https://byjus.com/biology/what-is-adaptation/ |
But before knowing about the different types of transpiration, one should know about the process of transpiration first. So, lets discuss about it.
WHAT IS TRANSPIRATION ?
The loss of water in the form of vapours from the aerial exposed parts of a plant is called transpiration process.
From the absorbed water only 1-2% is utilized by the plants for the purpose of photosynthesis and other processes. The remaining 98-99% water is lost by the transpiration process through the exposed surfaces of the plants.
What are the different types of Transpiration ?
Depending upon the aerial part of the plant through which transpiration process takes place, it can be categorized into three different types of transpiration i.e.,
1. Stomatal transpiration :
2. Cuticular transpiration :
Some transpiration takes place by the direct evaporation of water from the outer walls of the epidermal cells. This layer is impermeable to water. But some loss does take place through this layer.
3. Lenticular transpiration :
Water loss through the lenticels in woody stems and fruits is called lenticular transpiration. It constitutes about 1-2% of total water loss through transpiration process. Lenticels never close. They remain open all the times.
It was all about the different types of transpiration.
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STOMATAL APPARATUS (STOMATA)
MECHANISM OF STOMATAL TRANSPIRATION
Water absorbed by the roots of a plant moves upwards through the xylem vessels of roots, stems and reaches up to the leaves. In the leaves are present a large number of spongy mesophyll cells.
The water from these cells keep on evaporating through their exposed cell walls. The air inside the intercellular spaces gets saturated. Water potential of the air in the intercellular spaces of the leaf becomes higher than that of the air present outside the leaf.
As a result, water vapours from the substomatal spaces move to outside through open stomata. The entire movement of water vapours from the surface of mesophyll cells into the outside atmosphere is the result of diffusion.
The cell walls that are losing water due to transpiration process, replace it by drawing more of it s from the adjoining cells. Most of this water – travels along the cell wall by imbibition. Whereas, a very small amount of water enters a by osmosis .
Thousands of cells of – the leaves lose water due to transpiration. It – causes pulling of more water from below e through the xylem vessels. The transpiration pull thus created can draw up water up to the height of the plant which can be 50 metres or even more.
More transpiration process occurs from the lower surface of a dorsiventral leaf as compared to upper surface. This is because of the fact that more stomatal openings are present on the under surface.
Factors affecting Transpiration
Rate of Transpiration is affected both by the Internal and External Factors.
(A) Internal factors :
- Leaf area : Larger the surface area of the leaves, more is the transpiration.
- Leaf structure : Presence of thick cuticle, coating of wax, sunken stomata, compact mesophyll and reduction in the number of stomata reduce the rate of transpiration.
- Water content of leaves: Due to insufficient absorption of water by roots, if the water content of the leaves decreases, the leaves wilt and transpiration is reduced.
(B) External factors :
The external factors which influence the rate of transpiration are :
ADAPTATIONS IN PLANTS TO REDUCE TRANSPIRATION
Many plants specially xerophytes have evolved a variety of permanent adaptations to cut down transpiration. Some of these external adaptations are : –
(a) Thick cuticle : The leaves may be covered by very thick cuticle e.g., Banyan.
(b) Loss of leaves : In some plants leaves may be dropped or may be absent as in most cacti.
(c) Narrow leaves : To reduce the surface area for transpiration, leaves in some plants become narrower, e.g., Nerium.
(d) Fewer stomata : In some plants, the number of stomata may be reduced.
(e) Sunken stomata : In some plants, the stomata are sunken (stomata depressed below the adjoining epidermal cells) or covered by hair, e.g., Nerium.
SIGNIFICANCE OF TRANSPIRATION
Transpiration has a great impact upon the metabolism of plants. It is both advantageous as well as disadvantageous.
Advantages of transpiration
- Ascent of sap : Transpiration exerts a tension or pull on water column in xylem which is responsible for the ascent of sap.
- Absorption of water : Transpiration helps passive absorption of water.
- Transport of minerals : Transpiration assists translocation of mineral salts through xylem.
- Cooling effect : Transpiration prevents excessive heating during hot summer days because of its cooling effect. The transpiring organs come to have temperature about 2-5 °C below that of the environment.
- Improvement in the quality of fruits : High rates of transpiration lead to the development of fruits with increased sugar and mineral contents.
Disadvantages of transpiration
- Wilting injury : Wilting results from the flaccid condition of leaf cells when the amount of water lost through transpiration exceeds the amount of water absorbed through roots. Metabolic processes, including photosynthesis, are retarded, checking growth. It greatly reduces the yield of crop plants. Permanent wilting, if not recovered, may lead to the death of the plants.
- Stunted growth : Excessive rate of transpiration leads to stunted growth of plants.
ANTITRANSPIRANTS
Agents or chemicals used to cut the rate of transpiration are called antitranspirants. Reduction in transpiration is desired in high priced crops, seedling transplantations in nurseries, etc.
To fulfil this requirement some. artificial means are used. These artificial means include certain antitranspirants like colourless plastic resin, silicon oils and low- viscosity waxes.
These antitranspirants, when sprayed on leaves, make a thin film on the transpiring surface. This film is permeable to CO, and O2 but not to water. In addition to these substances, phenyl- mercuric acetate (PMA, a fungicide) and abscisic acid (growth regulator) also serve as antitranspirants.
These two cause closure of stomatal pores. CO2 in higher concentration (0.05%) than in nature (0.03%) also working as antitranspirant causes natural closure of stomata. Further, higher concentration of CO, will close the stomata completely.
EXUDATION OF WATER OR GUTTATION
Guttation (Latin gutta = drop, exudation of drops) is the loss of water in the form of liquid, as droplets along the margins of the leaves through specialized structures known as hydathodes or water stomata.
Each hydathode is incompletely differentiated stoma or pore in the epidermis. It is followed by large intercellular spaces, loosely arranged parenchyma and blindly ending xylem elements.
One can see exudation of droplets of liquid water and also some solutes (inorganic or organic substances) from the margins and tips of leaves of potato, tomato, grasses, Nasturtium, Colocasia, in the morning.
When the water absorption exceeds that of transpiration, (i.e., root pressure is high and transpiration is low) hydrostatic pressure is built up in the xylem vessels. Due to this pressure water is pushed up the xylem ducts and out through the hydathodes.
SUMMARY
In this article, we have discuss about what are the different types of Transpiration. The following points are covered briefly in this article :
- What is Transpiration ?
- What are the different types of transpiration ?
- Mechanism of Transpiration
- Factors affecting Transpiration
- Significance of Transpiration
- Antitranspirants etc. | https://articlesbazar.com/what-are-the-different-types-of-transpiration-updated-2021/ |
Climate aridity and grazing are among the most significant ecological factors affecting the structure and composition of Mongolian steppe plant communities [1,2]. The combined action of these two processes in Mongolia leads to the expansion of alkaloid plants, the invasion of shrub species into automorphic ecosystems and, accordingly, the extrusion of dominant herbaceous species from steppe communities . It is well known that both factors – climate and grazing – may influence the physiology and productivity of pastoral plants. The enhancement of dryness may lead to changes in gas exchange rate and productivity . Increasingly, grazing usually leads to biomass loss [2,4]. At the same time, it is still unclear which of the two factors often associated to each other is crucial for vegetation. There are few data on the combined effect of aridity and grazing on plants [2,5,6]. The mechanisms of different factors on photosynthesis and productivity is the key question in the assessment and prediction of plant resources in steppe ecosystems.
The aim of this work is to investigate the effect of aridity and grazing on the biomass and functional traits of steppe plants in Mongolia. We hypothesized that these two factors may influence plant productivity in different ways and may involve different groups of plant functional traits. To test this hypothesis, we studied three dominant steppe species in different climatic regions: in each of them, plants in the presence and absence of grazing were analyzed.
2. Methods
The studies were conducted at 4 sites located in different regions of the Mongolia steppes (Table 1). Within each site, plants were sampled in two variants – intensive grazing and grazing exclusion (Figure 1). The experimental areas with grazing exclusion were fenced areas of about 0.5–1 ha located along the railway and isolated from domestic animals by a metal grid fence. Sites with intensive grazing were located directly next to the fenced areas. Three widespread and abundant species of natural steppe communities (Artemisia frigida, Stipa krylovii, Kochia prostrata) were chosen for analysis. Each species was studied in two geographical sites (Table 1). For 10 individuals of each species, the aboveground biomass and leaf traits were determined. Leaf area and leaf mass per area (LMA) were measured using computing image analysis (SIAMS, Russia) and weighing. Photosynthetic and transpiration rates and water use efficiency (WUE) were determined for 5 plants per variant using the portable photosynthetic system Li-6400 XT (Li-COR, USA) under a saturated light of 1500µmol/m s, a chamber temperature of 24 С and an ambient concentration of CO . Photosynthetic pigment content (chlorophylls a and b, carotenoids) were measured in 5 replicates using the spectrophotometer Odyssey DR/2500 (Hach, USA) after extraction in 80% acetone.
Table 1
3. Results
The analysis of the aboveground biomass showed the negative effect of grazing on plant biomass, except A. frigida in desert steppe (point A3) (Figure 2). The increase in aridity led to the decline of biomass of K. prostrata in both variants of grazing intensity and for A. frigida in the variant of grazing exclusion. The increase in aridity did not affect the biomass of S. krylovii. On the contrary, the biomass of this species in a drier climate was slightly higher. Grazing resulted in a significant reduction of the aboveground biomass of this species by two to three times. Other authors have also shown a considerable decrease in plant height and biomass for steppe plants under grazing [4,9,10]. Thus, both grazing and aridity influence the biomass of the studied species, but the direction and the degree of changes are species-specific, a fact confirmed by the results of variance analysis (ANOVA) (Figure 2). In our opinion, the response of the species to the impact of these environmental factors depends on its functional properties, primarily on the growth form and biochemical type of photosynthesis. The studied dominant species of steppe communities differ in their functional properties. S. krylovii is a herbaceous plant with a superficial root system that is directly dependent on the soil water content, while A. frigida and K. prostrata are shrubs with deeper root systems. On the other hand, K. prostrata belongs to plants with С -type of photosynthesis, possessing a number of physiological advantages in comparison to C -plants for successful growth in arid climates, such as high water and nitrogen use efficiency, large internal CO conductance, low values of carbon dioxide compensation point, higher temperature and light optimum of photosynthesis, etc. [11–14]. In this regard, the abundance of С -species increases with aridity, while the abundance of C -species declines . Accordingly, С - and С -plants differ in functional traits and in response to climate. Indeed, the C -species K. prostrata differed from the C -plants A. frigida and S. krylovii in terms of lower LDMC, greater LMA and higher photosynthetic rate (Figure 2).
An increase in climate aridity led to an enhancing of photosynthesis and transpiration rates for K. prostrata: however, for A. frigida they decreased and for S. krylovii remained stable. Meanwhile, high levels of grazing did not influence the rate of leaf gas exchange in the studied species. Grazing also did not affect the photosynthetic pigment content, which, like photosynthesis, was largely dependent on climate aridity. Wang et al. also demonstrated the absence of grazing influence on functional traits closely linked with photosynthesis, such as nitrogen content per leaf mass and area. In more arid conditions, A. frigida and S. krylovii showed an increase in chlorophyll content per unit leaf area by 1.6–2.0 times due to the increase in LMA (A. frigida) or leaf thickness (S. krylovii). As in the case with aboveground biomass, both aridity and grazing influenced integral functional traits like water use efficiency (WUE). This parameter indicates the amount of transpiration loses per unit of assimilated carbon dioxide and is one of the indicators of plant tolerance to drought . The increasing aridity caused an enhancing of WUE for C -species A. frigid and S. krylovii, and a small decrease in this parameter for the C -species K. prostrata. In contrast, grazing caused the greatest decrease in WUE for K. prostrate and S. krylovii, while A. frigida did not significantly depend on grazing due to high variation within each site. The studied species possessed different mechanisms of WUE regulation, connected with different structural and functional leaf restructuring due to changing climate and grazing. A deep root system, C -photosynthesis and the presence of water storage tissue allow this species to maintain high photosynthetic rates (A ) and WUE when under increasing arid stress. The decrease of WUE under grazing for this species was accompanied by an increase in leaf thickness and water content: this allows it to reduce stomatal control over transpiration and to increase the rate of CO uptake from ambient air to the leaf. WUE increased with aridity in Artemisia frigida due to a two-fold reduction in transpiration. The increase of pigment concentration in the leaf allows it to minimize the drop in photosynthesis. The opportunity for transpiration loss decrease in this species was conditioned by structural changes in the leaves, which become denser and harder in more arid conditions. The increase of WUE in A. frigida caused the effective regulation of biomass accumulation when under increasing arid stress. Stipa krylovii was characterized by the lowest rate of gas exchange and the highest LDMC among all the studied species. Grazing led to an increase in leaf water content in A. frigida, which in turn caused a decline in WUE: along with the loss of biomass during grazing, this could lead to a decrease in plant productivity.
4. Conclusion
The studied species belong to widespread dominants in the steppes of Mongolia, so the revealed regularities and mechanisms allow us to predict the response of steppe vegetation to climate aridity and grazing in general. Our results demonstrate that both aridity and grazing affect plant productivity, but at the same time each factor influences different groups of functional traits. Climate change affects leaf traits and plant photosynthetic capacity, while disturbance by grazing leads to physical biomass loss and changes in water balance. Plant response to the combined effect of aridity and grazing depends on species' functional traits, which are determined by their biochemical and physiological characteristics. | https://knepublishing.com/index.php/Kne-Life/article/view/3221/6818 |
In order to conduct a thorough Case Analysis and Review soldiers requesting assistance from the Uniformed Services Justice & Advocacy Group (USJAG) must first provide some basic information:
–All military records documenting medical and mental health conditions and diagnoses
–All military records pertaining to misconduct separation proceeding
These records are then reviewed by the USJAG staff and, where necessary, other qualified professionals in a variety of areas of expertise. In the preliminary stage, discrepancies between the service member’s medical and mental health histories and the command-generated medical separation evaluation are identified.
Having identified inconsistencies, inaccuracies or omissions in the medical and procedural separation processes, the service member is referred to licensed community experts to assess and provide a thorough and accurate report of the complete medical conditions of the service member.
On receiving documentation and validation of service-related medical and\or psychological conditions which differ from those reflected in the official record, a comparative analysis is conducted to ensure that procedural directives and military medical policies as out-lined under the National Defense Authorization Act (NDAA) are being followed. If it can be determined that an individual service-member’s separation is not in compliance the case may be accepted and local command will then be notified.
The service member’s medical command is also notified of the medical concerns and USJAG begins providing the command the contradicting medical evidence along with the policy violations. Many times the errors are corrected at the local level, other times they are elevated to Senior Military Command levels for further review. When persistent repetitive patterns of medical misconduct are identified, the proper Congressional committees and Congressional members are briefed on the findings.
Often, Active Duty Service Members undergoing adverse separations are medically being neglected and either under-treated or improperly treated. USJAG identifies the deficiencies and identifies and advocates for potential treatments available. Requests are made for placement to the Warrior Transition Units (WTU).
Courts Martial and Civilian Criminal Proceedings
USJAG works as an integral part of the defense team in legal proceedings, providing the defense with critical investigative tools and medicals, forensic experts and current research that is needed to defend these cases.
Successful Cases
After successful reversal of the adverse separation process, the client is directed through the retirement process and assisted in obtaining full medical benefits to include Combat related Special Compensation and Social Security Disability, when eligible. Partnering experts often assist the client through USJAG’s referral.
Veteran Services
Veterans who have undergone wrongful separations are often in need of numerous services such as Discharge upgrades, appeals to VA for care and community resources and medical care and for immediate issues facing the veteran and their family. USJAG assesses the needs, advises the client on the critically needed documentation for the legal proceedings and provides the warm handoff to partnering agencies that perform those specific tasks. These veteran cases are documented to further provide congressional staff members with proof of the growing problems with Other Than Honorable (OTH) discharges. | http://www.usjag.org/case-reviewanalysis/ |
This paper describes an undergraduate research project conducted at a liberal arts institution during the summer of 2019. The undertaking was distinctive in that it was an engineering research project conducted at a liberal-arts college by undergraduate students enrolled in the college’s engineering program. A multidisciplinary research team was assembled, composed of students majoring in civil, chemical and mechanical engineering. The purpose of the research was to identify areas where unmanned aerial vehicles (commonly known as drones) have been underused or totally unexploited, and to select one for further detailed analysis. Unlike typical research projects, where the areas of research and main topic are preselected by the research instructor/advisor, this project allowed the student researchers to make those decisions. The four-member research team identified several drone usage areas, including wildlife analysis, package delivery, athletic analysis, and areas in which artificial intelligence (AI) is used to enhance information gathering, such as security surveillance, storm tracking, anti-poaching of wildlife, and mosquito spraying. After a thorough review of these uses, mosquito spraying was selected as the focus topic. The decision was based on feasibility, time constraints (just seven weeks to complete the project), budget constraints, and capabilities of the Phantom 4 drone that was used. The research methodology involved the following components: (1) using the team “brainstorming” process to settle on one research topic; (2) pooling the students’ individual research efforts and findings to arrive at a comprehensive conclusion; (3) adapting a structured research approach to a very compressed, limited time frame; (4) coordinating a multidisciplinary team into a collaborative effort to meet specific deadlines; (5) using a high-tech mechanical device (the Phantom 4 drone) to perform an untraditional assignment (spraying mosquitoes); and (6) training the students in the proper use and navigation of drones, and to getting them FAA-qualified for pilot and ground observer status. Developing the mosquito spray container for the Phantom 4 required two weeks of intensive study, analysis and design, necessitating several trials before achieving a satisfactory final product. Despite this time-consuming process the spray mechanism worked efficiently, allowing the students to conduct and complete the practical aspect of the research project within the seven-week time-frame. | https://peer.asee.org/self-initiative-undergraduate-research |
What are the advantages of using a digital radiology device?
Digital radiography brings the patient the benefit of a much lower radiation level. Research in the field of radiation certify a reduction of up to 80% in the moment of the exposure of the sensor, when compared to the films, this being due to the properties of the sensor that make it more sensitive to X radiation photons.
Furthermore, the possibility of computed processing of the image is one of the greatest advantage that digital imaging has compared to the conventional film. On the digital x-rays, the physician can identify information that is not visible on the conventional film.
The possibility to have computed images of the radiography allow the physician to conduct magnifications, measurements, intervention plans and much more, all of them directly on the radiography. The information may be easily submitted on-line by other specialists, the latter being able to study the radiography in real time. This can save time and money.
You are welcome to Neuromed Diagnostic Imaging Center in order to benefit from an effective treatment and a thorough check. | https://www.neuromed.ro/en/updates-and-events/what-are-the-advantages-of-using-a-digital-radiology-device |
There are many opportunities for Penn undergraduates to conduct research in any discipline—regardless of their previous experience. Research positions can be:
- Volunteer
- Arranged through work-study
- Paid -- funded directly through a faculty member’s grant or via a program that provides a stipend
- Conducted for academic credit, or
- Supported via a grant for which you apply.
Keep in mind that funding options are often specific to particular kinds of research, fields of study, grad year, etc. In addition, most (but not all) CURF funding is reserved for research conducted under the mentorship of a Penn faculty member.
Use the list below to identify research programs, grants and opportunities at Penn, elsewhere in the US and abroad. While CURF strives to maintain a thorough and up-to-date website, these listings are not comprehensive and students are encouraged to conduct their own funding searches.
What grants should I apply for?
The Penn Undergraduate Research Mentorship (PURM) program is ideal for first and second-year students who have little to no prior research experience. For more advanced researchers, the College Alumni Society Research Grant, the Vagelos Undergraduate Research Grant, and the Class of 1971 Robert J. Holtz Endowed Fund for Undergraduate Research are good places to start.
Other options are often specific to particular populations or kinds of research (e.g. grants for international research, social-impact endeavors, or for juniors who have not done research before). | https://www.curf.upenn.edu/research/funding-opportunities?keyword=&&&&&order=field_deadline&sort=desc |
Diving Into Retrospective Surveys
While most survey research involves looking into the here and now, there is one type of study that does quite the opposite. Retrospective surveys entail examining past events to see how they relate to outcomes (a study of interest) discovered at the beginning of a study.
Used in retrospective research, these surveys unlock many valuable insights that businesses can use to strengthen their marketing efforts and to better understand their target market.
That is because this study is not limited to medicine and psychology. This article will take a dive into retrospective studies and their accompanying surveys to make their purpose lucid in the business world.
Defining Retrospective Surveys
To put it in simple terms, in a retrospective study, researchers gather data on occurrences that have already happened. This places a retrospective study in opposition to a prospective study, in which researchers choose a survey panel or survey respondents from an online survey tool and follow the subjects over a period of time.
Also called historical research, a retrospective study inspects the historical data of a group of people. It falls under cohort studies, which are observational studies that determine how often a phenomenon occurs within a targeted population.
The purpose of a retrospective study is to discover how certain events and mindsets have unfolded or how they developed. It also looks at links and causes between studied events or phenomena. In the case of business, consider the following example:
A group of customers does not wish to make any online purchases. Their aversion comes in spite of the fact that they have internet access and a tendency to frequent the online space. A retrospective study would therefore inspect past events to learn about the factors that contributed to the consumers’ reluctance to shop online.
In this, the study and therefore the retrospective surveys, seek to find the links between experiences and unwillingness to shop online. They would also uncover when these phenomena began.
The Two Types of Retrospective Studies
There are two main types of retrospective surveys. They can be used in tandem as part of the broader retrospective study.
- Retrospective cohort study: This kind of study would seek to compare the risk of developing a certain outcome to some already known exposure factors. In retrospective cohort studies, the exposure and outcomes have already occurred. The studies are conducted on research already in existence. The exposures are defined before looking at the outcome data to see if exposure to a factor is associated with a significant disparity in the outcome development rate.
- Case-control study: This seeks to determine the possible exposure factors after a known incidence. Most case-control studies are retrospective, but some can be prospective. They define two groups at the onset of the study. These include both the one with the outcome and one without the outcome. They look to the past to find if there is a statistically crucial difference in the exposure rates of a risk factor between the two groups.
Using Retrospective Surveys with Cross-Sectional & Longitudinal Surveys
Retrospective surveys are not standalone surveys; they are usually conducted as part of a larger cross-sectional or longitudinal study.
In a cross-sectional study, research is gathered to find prevalence, which is the number of cases in a studied group at a specific point in time. Although cross-sectional and retrospective studies form their own survey methods, they share some common ground. This is mainly due to surveys, in that a retrospective survey, like a cross-sectional survey, can be conducted just once to find historical information.
Retrospective studies can be used with longitudinal studies, which study trajectories and changes over a period of time. Called retrospective longitudinal studies, this kind of research studies a sampling pool over a period of time — the time period involves data that was previously collected. As such, no data from the present and onwards is collected, as it is in longitudinal studies.
Examples of Retrospective Surveys
The following includes a few examples of retrospective studies. Surveys can be applied to all cases as part of the research process.
- A group of investigators study the records of factory workers from two decades ago. Their studies include retrospective surveys that question these workers’ health, well-being and exposure to a certain radiation, including its source of emanation. This would unearth whether there is a link between exposure to the radiation and certain health detriments.
- A researcher who wishes to learn about the origins of stomach cancer will interview a cohort of people who already have the disease. The study will involve asking the group about their medical history, lifestyle choices, family health history and habits to find the causes of the disease. The people with certain lifestyles may be compared with those of contrasting ones.
- A business owner seeks to discover why a segment of their target market is only interested in one offering of the company. This segment may be filled with loyal customers who predominantly shop from this business. As such, the business owner can conduct an investigation into past shopping experiences, purchases, habits, diversions and interests of the target subjects in the study. The business owner can then use those findings to see which and if any changes in certain aspects of life have contributed to this disinterest of offerings and if it can be changed.
The Pros and Cons of Retrospective Studies
Retrospective studies are useful for finding the what, when, where and how. They are thus used to find causal relationships between variables as well. Aside from their utility, these studies, along with their respective surveys have some drawbacks
The Pros
- These studies offer many insights: surveillance, evaluation, causation and impact of different variables within subjects.
- Looking at factors before the onset of a disease/occurrence can help assess the effects of rare or unusual factors, as researchers can identify a number of subjects who have them.
- These surveys can help determine if prospective studies are necessary to later carry out.
- They are among the fastest studies to conduct, along with cross-sectional studies.
- They are inexpensive, especially when compared to long-term longitudinal studies.
- Traditionally used in medicine and psychology, they also offer a creative way to understand the mindset and behaviors of consumers.
- There is no risk of loss of follow-up.
The Cons
- They are prone to recall bias, an incorrect remembrance which skews the accuracy of the study’s results.
- They are prone to misclassification bias, a systematic error that can crop up when a subject is assigned to a wrong category of identification.
- There is less evidence than that which exists from prospective studies.
- Since controls are usually recruited via convenience sampling, they don’t represent the general population.
- Time-related relationships may be difficult to evaluate.
The Utilitarian Nature of Retrospective Surveys
Although they are fast and relatively inexpensive, these studies can be difficult to conduct for a number of reasons. But their disadvantages shouldn’t sway you from charting these market research waters.
That is because you can avoid errors with surveys. Online surveys in particular grant you fast access to the behaviors and minds of your target market or subject of interest. For example, to weed out misclassification, you can conduct further surveys into your target market segments to better understand which kind of respondents fall under which categories.
All in all, you can take part in this kind of research due to the ever-utilitarian nature of online surveys.
Frequently asked questions
What is a retrospective survey?
In contrast to survey research that examines events in the present, retrospective surveys are conducted to examine events or occurrences that happened in the past.
What are some disadvantages of retrospective studies?
Some of the problems with retrospective studies are that they are subject to recall bias, prone to misclassification bias, may suffer from inaccuracies due to sampling bias, and don’t always provide sufficient evidence to draw strong conclusions.
What other terms are used to describe retrospective studies?
Retrospective studies may also be referred to as historical research. Retrospective studies are a type of cohort study, which is used to determine how often a phenomenon occurs within the studied population.
What is the purpose of a retrospective study?
A retrospective study is conducted to understand how and why certain events, feelings, attitudes, or behaviors have developed.
What are some advantages of retrospective studies?
Retrospective studies are able to examine a wide variety of variables, understand factors that occurred before an event or onset of a phenomenon, and offer an interesting way to understand the feelings and attitudes of the studied population. They are also fast, inexpensive, and relatively easy to conduct.
What are some disadvantages of retrospective studies?
Some of the problems with retrospective studies are that they are subject to recall bias, prone to misclassification bias, may suffer from inaccuracies due to sampling bias, and don’t always provide sufficient evidence to draw strong conclusions.
Do you want to distribute your survey? Pollfish offers you access to millions of targeted consumers to get survey responses from $0.95 per complete. Launch your survey today. | https://resources.pollfish.com/market-research/diving-into-retrospective-surveys/ |
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We may also, from time to time, invite you to provide personal information in the form of surveys or questionnaires, participation in which is entirely voluntary. The personal information collected in connection with such surveys or questionnaires is used to communicate the results of surveys or questionnaires to you, as well as to improve your use of the Site. In addition, when visiting the aughtmag.com resource, each visitor's Internet browser transmits certain information to the site's servers, including the date and time of the visit, the web page from which the user comes, the web browser and operating system used, the IP address of the device, the size transmitted data, cookies and other data for Yandex.Metrica and Google Analytics (and other services/ This information is stored in connection logs for a limited time to ensure the security and proper operation of the Site, as well as to collect statistical information.
aughtmag.com takes the privacy of your data seriously and strives to ensure an appropriate level of transparency when dealing with it. Therefore, by providing sufficient data to identify you personally (in order to protect the privacy of other users), you can request your personal information from us and correct any inaccuracies in this data. You can change or delete your personal data by sending a corresponding order in a simple written form to the e-mail address [email protected]. | https://aughtmag.com/en/privacy-policy |
Cost Estimation for Deployments to Clouds using TOSCA
Thesis topic is already reserved.
This is a thesis project for bachelor students.
Automating not only software application deployments but also provisioning the required infrastructure, e.g., load balancers and servers, has become increasingly popular in the DevOps community. The automation can be done by writing Infrastructure as code, which can then be executed to provision the infrastructure from a cloud provider using its APIs. Due to the many cloud providers’ different APIs and cloud services, it is a challenge to write provider-independent infrastructure code. Yet, this independency is important when an organization operating software wants to avoid the risk of a vendor lock in. The Topology and Orchestration Specification for Cloud Applications (TOSCA) is a standard that enables the provisioning and lifecycle management of infrastructure independent of a specific cloud provider. With this the benefit gained from the cloud provider independence is not yet exhausted. If organizations could assess the estimated costs of their deployments for different cloud providers, they could use this information to move to the provider offering the best price. However, finding cloud providers matching the deployment requirements and calculating the costs is not a trivial task, and most certainly a tedious one if done manually.
In this thesis project a prototype of a software tool should be developed that can calculate a cost estimation for a given TOSCA specification for different cloud providers. For this, the thesis student will have to
- conduct a thorough literature research;
- get familiar with relevant parts of the TOSCA specification (version 1.3 that contains examples and the most recent version 2.0);
- identify parts of the specification that are relevant to cost calculation;
- understand cost calculation mechanism for respective cloud services (most likely this will be limited to virtual & dedicated servers in this thesis) of at least three cloud providers;
- develop a software prototype that can parse relevant parts of a given TOSCA specification and output prices for the considered cloud providers; and, of course,
- write the thesis report.
This thesis is a follow-up project of another bachelor thesis. Materials of the other thesis will be provided.
- Type: Bachelor Thesis
- Status: Current
- ID: t.b.a.
- Student: t.b.a. | https://www.swc.rwth-aachen.de/thesis/cost-estimation-for-deployments-to-clouds-using-tosca/ |
Researching is crucial before starting any work so that you are aware of who and for what you are working. The same is true for startups. To create a solid foundation for your new firm, you should conduct thorough market research before you launch it. As your company grows, you must be ready to face any risks that may arise, so doing your homework is crucial. Let’s look more closely at why research is crucial before launching a business.
1. Recognize your target market
You must identify your target market before establishing any business in order to sell your goods or services to them. Without customers, there will be no sales. You can discover the possible concealed audience by conducting a thorough investigation.
2. Techniques for Selling Your Good
Because they don’t understand how people are changing their purchasing habits, new enterprises frequently don’t last in the market for a long time. As a result, before starting a business, you should plan how you will market and sell your goods and services to your planned market.
3. Identify Your Competition
When launching a new firm, it’s critical to understand your rivals because they could endanger or undermine your enterprise. Knowing the competitors will help you plan your strategy and give you an advantage.
4. Reduces the Risk Factor
With the right research, you’d be able to assess the risks and apply several strategies or decision-based activities in accordance. When you conduct research, you have more time to consider and decide whether or not you should take a particular course of action to advance your company. | https://www.successyeti.com/job-fulfillment/why-is-research-vital-before-launching-a-start-up/2022/08/16 |
As an avid reader and lifelong learner, when Alyssa encounters a subject she’s unfamiliar with, her favorite thing to do is dive head first into learning everything she can about it. On walks through the city, she’s the person that stops to read every plaque and historical sign, and during hikes with her dog Maggie, she often stops to identify unknown plants and learn about their uses.
At PSC, Alyssa applies this same curiosity and desire to learn to her clients’ projects and needs. As a consultant, she deploys her research and analytical skills to conduct thorough evaluations of a client’s environment and current state. After gathering all background data, she measures program and policy impacts; supports continuous improvement of client initiatives; and develops research reports, strategy documents, and other deliverables to improve future outcomes. She also uses her facilitation knowledge and consensus‐building skills to help clients identify barriers to success and pathways to change.
Prior to joining PSC, Alyssa worked in Constituent Services at the Office of United States Senator Gary C. Peters, where she assisted the people of Michigan in communicating with the senator and resolving issues with the Internal Revenue Service, the Michigan Unemployment Insurance Agency, and more. Before that, she served state and federal clients as an analyst at a management consulting firm in Washington, D.C. | https://publicsectorconsultants.com/team/alyssa-smith/ |
We help a wide range of service providers and industry participants, including corporate advisors, recruitment consultants and software companies, to accomplish their specific objectives. Source new business opportunities, conduct competitor and market analysis, and keep ahead of industry developments.
Identify new business opportunities with our comprehensive data on managers, funds, deals/exits, investors and service providers. Be the first to hear about potential new fund launches or spin-out firms, funding rounds and personnel changes. Back up your recommendations and analysis with our comprehensive and accurate industry data.
Deepen your analysis and understanding of the industry with our data on all aspects of the market and assess the trends you see with clear perspectives on past and present alternatives environments. Back-test with thorough historical data, monitor the market as it moves and look ahead with our tools.
Monitor all the players on the field, including your competition - their clients, new hires and activity. See which new clients they have landed or lost recently and plan your next move. | https://classic.preqin.com/who-we-help/advisory-and-service-providers/20408 |
In this post you will learn the 11 steps of numerical problem solving for physics. These steps are flexible and could also be used to solve problems in many other disciplines such as chemistry and engineering. At first glance some physics problems look overwhelming, especially when written as lengthy word problems. But if you do follow these 11 steps the physics problem becomes more clear and the answer more easy to attain. Let’s jump right in to these steps below.
Step 1: Read and reread the question
It is paramount to read the problem and begin to visualize the scenario. Get an idea of what the problem wants you to solve, then go back and read it through thoroughly again, word for word, don’t skip through the sentences as you may miss crucial information. Note the given information in your notebook, for use in step 3, and remember that sometimes too much information is given and not all the values are needed.
Step 2: Draw a diagram
With your understanding of the question, begin to draw a diagram that best describes the scenario. Be sure to label the diagram with directional coordinates, and vectors, if necessary. Don’t spend too much time drawing this diagram as you’re not in art class here, but do draw the diagram large enough with clean lines so that the when the important information is added the diagram remains legible.
Step 3: Indicate the known quantities
Review the given information, the information you noted in Step 1, and place these known quantities on your diagram. Write the variable, the value, and its units. Be sure to include subscripts on the variables, when needed, to indicate initial and final values etc.
Step 4: Determine the unknown variable(s)
The word problem usually asks you to solve for an unknown value in the last sentence. Ensure that you have understood what is to be solved, what the variable is, and what units are to be given in the answer. Now, go back to your diagram and include this unknown so that you may clearly visualize the scenario. When I include the unknown in a diagram it would look something like this, if we were solving for final velocity (vf), vf = ? m/s.
Step 5: Select the appropriate formula(s)
If you have followed the previous steps you should now have a thorough understanding of the given information in the problem and, most importantly, what the problem is asking you to calculate. Armed with this knowledge, flip through your text book or formula cheat sheet looking for an equation that suits your needs. In the case, where we have one unknown value to solve for, look for an equation that includes your unknown value and the values given in the word problem. Be sure there is only one unknown value in the formula you select. In the case that there are two unknowns in the formula you must then find another equation that is independent of the first and that includes one of the unknown values (you may remember the saying “two equations with two unknowns”. Write the formula down on your notebook, just below the diagram, for reference.
Step 6: Solve the formula(s) algebraically
Sometimes the formulas are not setup the way you like. For example, the unknown value my not be isolated to one side of the equation (ideally the left side) and is instead mixed up with the other variables represented in the given information. If this is the case, it is imperative that you solve the formula algebraically to begin with. Fight the urge to just start plugging known values into this formula, it’s hard at first, but after some practice you will reap the benefits of solving the algebra initially, that is with no addition of numerical values. This post will not go into the art of manipulating formulas algebraically as that is a whole topic of its own. What you want here is to have your unknown value isolated all by itself on the left hand side (LHS) of the equation with all the known variables on the right hand side (RHS). After solving the algebra to suit your unknown, put a rectangular box around your formula, this indicates to you and to the marker that this is the equation you are using for your calculation.
Step 7: Convert units for known quantities
Again, before jumping in and entering your known values into the equation, be sure that you are using units that jive. For example, if you have units of feet, ft, and meters, m, you will have to choose one unit type to use and stick with it. Even pay attention to centimeters, cm, and meters, m, as they also don’t jive. The best way to decide which unit type to choose is to look at the units of the unknown value, that is, what units does the practice problem ask you to provide? These unit conversions can be done before plugging your values into the formula, or if you’ve had practice doing this, you may perform the unit conversions within the formula itself.
Step 8: Plug known values into solved formula and track units
You’ve got your known values, your diagram, you know what your unknown variable is, you’ve selected a formula to use, and you’ve converted your units successfully. Guess what? You’ve already got 60% of your question correct. Now comes the fun stuff, entering your variables into your formula. This part always puts a smile on my face. And no matter what anyone tells you, be sure to include units when plugging your values into your solved formula. Why do you ask? This is a way to double check that your algebraic manipulation was correct, it isn’t a fool proof method, but if your units don’t match then your algebra is probably wrong. You can achieve this by cancelling out your units in an appropriate manner and then checking which units are left over. For example, if you’ve got meters per second, m/s, left over after cancelling units, and your unknown variable is velocity, then you’re probably on the right track. If something doesn’t look right here go back up through the previous steps and try to catch your mistake, it is commonly in the algebra or the unit conversions.
Step 9: Calculate your unknown value
Pull out that trusty calculator and plug away. Enter the values and be sure to use brackets on your calculator to force operations in the correct manner. Take your answer and write it down with the correct amount of significant digits as required by the question, and remember to include its variable and its units. Put a rectangular box around this answer and be proud. Wow, we did it. Look at that, you’ve successfully solved for the unknown variable. Now, does it make sense?
Step 10: Does the answer make sense?
Think about the problem, and think about the answer. Does it make sense? If it seems way off maybe something went wrong with unit conversions or decimal places, review your preceding steps and look for anything that stands out. It’s always good to take a minute to double check your initial work, and remember to reread the problem at this point as well. If you follow these steps you will do well in your physics class.
Step 11: Double check answer with iEquals Formula Solvers
As an additional step, for homework problems and assignments, you may use iEquals Formula Solvers for iOS to quickly double check your solution. Just choose the formula you selected in Step 6 and enter your unknown values and their accompanying units. Now simply tap iEquals and it will display the same answer you calculated in Step 9. This is also a good way to see which of you in your study group has the correct answer, no more debating, just pull out the app and enter your values. Once you’ve decided who has done the problem correctly you may all move forward and figure out how it was done. Be confident that you can move on to subsequent questions after double checking your homework with iEquals.
Thanks for taking the time to review this post. Feel free to leave questions or comments below. Happy solving! | http://iequalsapp.com/the-11-steps-of-numerical-problem-solving-for-physics/ |
This post is specifically for the CIE Biology International A level qualification. What follows are my attempts to help guide students to do the best they can in the advanced practical skills exam, Paper 3. However, the information below is no substitute for proper revision and the dedicated practise of actually carrying out a variety of biology experiments. Additionally, I would strongly recommend you use the past papers section of CIE’s website to sit as many “mock” practical exams as possible.
Command words in a question
Describe:
- Say what is going on, e.g. the trend or pattern of results.
- When describing data, always use units if appropriate (e.g. °C or cm3).
Explain:
- Say why a trend or pattern is occurring.
- When explaining data, always link it to A level Biology.
Although describe and explain are the most common command words, you might find yourself answering questions with any of the following:
- Calculate: use mathematics to find an answer. E.g. mean, percentage, percentage change, rate, ratio, etc.
- Measure: use a suitable measuring instrument to take a reading, being sure to include units after the numerical answer.
- Suggest: there is no one correct answer; you should look through the information you have been given for some clues.
Even more rarely you might find one of the below command words in a question:
- State: give a brief answer – maybe one word or a phrase.
- Define: give a definition – these should be concise.
- Determine: explain how you could take measurements and calculate an answer from these measurements (e.g. in an experiment).
How many answers should I give?
- If a question states “identify two” then only the first two responses will be marked.
- If a question states “record observable differences” then all responses will be marked.
How great is the risk?
If a question asks you to “state the hazard with the greatest level of risk” for your practical, do not choose one you deem to be low risk. E.g. warm water in a thermostatically-controlled waterbath set at 30°C, is a hazard that is low risk and so would not gain a mark. A better answer would identify a risk that was either medium or high, e.g. hydrogen peroxide is harmful to the skin. The key is to identify a hazard with “the greatest level of risk”.
Deciding independent variable values
Give five values at roughly even intervals (e.g. every 5°C or 10 cm3) when deciding what values to use for your independent variable. Always use units if appropriate (e.g. °C or cm3).
Recording numbers and drawing tables
Do not go past one decimal place when recording the results from your experiment, usually whole numbers are fine. And always use units if appropriate (e.g. °C or cm3).
Table Headings:
- Put the independent variable (IV) on the left and dependent (DV) on the right.
- Draw a line between the top row and the body of the table, e.g. underline the IV and DV.
- Use the full name of the IV and DV (e.g. temperature of hydrogen peroxide and time taken to rise).
- Only use units in the headings, not the body of the table (e.g. temperature of hydrogen peroxide / °C and time taken to rise / s).
Results
- Record results for at least five values of the IV.
- Results should show the pattern or trend theoretically expected of the practical.
- Use whole numbers.
- Record results for two trials and calculate a mean average.
- The mean average should be recorded to no more than one decimal place.
Identifying sources of error
Think carefully about your experiment, where might there have been an error? E.g. if you are looking at colour changes this is subjective and will be a source of error. Ensure you state the error and the reason it occurred.
Describe how an element of a practical can be investigated.
- Use five values.
- State how these five values will be made, e.g. if the IV is concentration of enzyme, “use simple or serial dilution” or if it is temperature “use a thermostatically-controlled waterbath at 20°C, 30°C, 40°C, 50°C and 60°C”.
Constructing graphs
- You will normally use data that is given to you in the paper.
- Put the IV on the x axis, DV on the y axis.
- Use the full title from the table to label each axis, e.g. “initial rate of catalase activity / s-1“.
- Always use units if appropriate (e.g. s or seconds but not sec).
- Look at the values and use a logical scale. E.g. a scale of 0.06 or 0.04 for every large square of graph paper is not logical. However, a scale of 0.05 is logical.
- Each plot will be checked to see whether it is accurate to within half a small square of the graph paper. It is recommended you use an x mark to do this.
- There should be no labelling within the area of the graph.
- Lines will be judged for their quality*.
Bar graphs
- Ensure lines are not too thick, as the quality of each one will be judged*.
- Bars can be touching. However, if you chose to leave gaps the gaps must be evenly spaced.
- The horizontal lines at the top must be perfectly straight, parallel to the x axis.
Drawing diagrams
- Quality of lines will be judged*.
- No ruler straight lines for your diagram: nature is not straight!
- No labels or writing within the drawing.
- Label only what is asked of in the question.
- Do not draw in anything that you do not see. E.g. smaller organelles.
Plan diagrams
- The diagram should be at least 60 mm wide at its greatest width.
- There should be no shading.
- There should be no cells in plan diagram. Do not be tempted to draw them in!
- Use the correct section of the slide. This will be in the instructions of the questions, but make sure you actually draw what it wants you to!
Diagrams of cells
- Cells should be at least 50 mm at their greatest width.
- Draw exactly the number of cells stated in the question.
- Do not include half cells. The questions always state “whole cells”.
- Cells should not overlap but may be abutting (e.g. touching each other or sharing an outermost line).
Calculations
- Always show your working and the steps you take to come to your answer.
- Always show units, but do not mix units. E.g. not 1 mm and 50 µm.
- When converting units, show the conversion. E.g. 1 mm to µm: 1 x 1,000 = 1,000 µm.
- Try not to go beyond one decimal place, or the same level of precision as is given in the question.
- Give ratios to the lowest common denominator. E.g. 168:58 should be 84:29.
Comparing observable differences using a table
- Organise the table as three columns; one for the differences and two for the samples. E.g
- Underline the headings and divide the columns as per the table above.
- If asked for differences, do not give similarities!
- Differences would ideally be “X is thick” and “Y is thin”.
*Quality of lines
Each line you draw for a graph or drawing could be judged for its quality. E.g. whether it has been drawn by a sharp pencil as a thin and continuous line. This is really important as you don’t want to lose silly marks for not sharpening your pencil! | https://tlamjs.com/2016/10/28/cie-biology-how-to-ace-paper-3/ |
wikiHow is a “wiki,” similar to Wikipedia, which means that many of our articles are co-written by multiple authors. To create this article, volunteer authors worked to edit and improve it over time. This article has also been viewed 9,977 times. Learn more...
Have you found yourself trying to locate your location on a map on Google Earth, but found the location points to be in decimal form? So you can find your location(found from a paper map) on a digital map, you'll need to convert it. This article will help you convert it, so you can find yourself on the map.
Steps
1
Degrees, Minutes, (no seconds) to Decimal Form
-
1Obtain the number of minutes on top of 0 the object is. If the item is located at 35 degrees AND 2 minutes write down 35* 2' .
- Be sure to write down a decimal point (.) to the right of the degrees portion you wrote on the one side of the paper.
-
2Divide that number of minutes you obtained by 60.
-
3Take the answer you obtained above (after dividing by 60) and write this portion of the answer to the right of the decimal point, to obtain your final answer.
- Be sure to mention your units, which, as the answer to this problem signifies, should be degrees, and, if this problem is a vector unit, display the direction in which the item is found at.
2
Degree, Minutes, Seconds to Degree and Decimal (Only) Form
-
1Write down your units for the degree portion of your answer, followed by a decimal point. Include your units. If the item is located at 33 degrees 15 minutes 2 seconds, you'll need to write down 33 degrees.
-
2Write down to the right of the degrees form, the number of minutes obtained. The problem stated in the step above, is 15 minutes. So, so far this decimal answer should represent "33 degrees 15.(something) units". (See above, when the top just had minutes without seconds stated.)
-
3Obtain and divide the number of seconds the object is located at by sixty.In the example a few steps above, the object was located at 2 seconds, so divide this number by 60.take the number of seconds you obtained in the problem(2) by 60.
-
4Write down your answer to the right of the minutes portion you earlier write down.
- Be sure to include your units, which for this problem, should then be degrees. If this unit is a vector quantity, include the direction.
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- This article should be helpful when trying to convert the degrees a location is, when using Google Earth or some other visual map program that has these units, and trying to pinpoint this location on a map of another form.
Article Info
Categories: Geography | Global Positioning System (GPS) | Google Earth
Thanks to all authors for creating a page that has been read 9,977 times.
Is this article up to date? | https://www.wikihow.com/Convert-Latitude-and-Longitude-Units-from-Degrees-to-Decimal-Forms |
Each student will select one of the key terms listed below and conduct a search of our University’s online Library resources to find 1 recent peer-reviewed article (ATTACHED TO THIS POST) that closely….
Ethics, Law and Cybersecurity
Pay attention to what you are being asked to do (see Grading Rubric below). For example, to describe does not mean to list, but to tell about or illustrate in more than two or three sentences, providing appropriate arguments for your responses using theories discussed in our text. Be sure to address all parts of the topic question as most have multiple parts. A verifiable current event (less than 4 years old) relevant to at least one of the topics you respond to is a fundamental component of your quiz as well. You cannot use information from the text book or any book/article by the author of the text book as a current event. Make sure that your reference has a date of publication. For each chapter quiz and final quiz you are required to find and include at least one reference and reference citation to a current event less than 4 years old (a reference with no date (n.d.) is not acceptable) in answer to at least one question. This requires a reference citation in the text of your answer and a reference at the end of the question to which the reference applies. You must include some information obtained from the reference in your answer. The references must be found on the internet and you must include a URL in your reference so that the reference can be verified.
1. Compare Brey’s arguments regarding misrepresentation and bias in virtual environments, especially in virtual reality (VR) applications, to Buchanan’s argument in chapter 10 concerning gender bias in the representation (or lack of it) in video games. (Brey’s arguments can be found in the 4th edition of the textbook on page 349. Go to Doc Sharing to download the 4th edition in PDF format.) How are their arguments similar? How are they different? Defend your answer. Please elaborate (beyond a yes or no answer) and provide your “theoretical” rationale in support of your responses. (knowledge) . | https://qualityessays.net/ethics-law-and-cybersecurity-14/ |
Collaborative Review with Google Docs
This is another post celebrating my presence in a part of the world that has unfettered access to Google and its online tools. I hope this continues.
For two out of my previous three units, I’ve started the final day of class before an exam with a document in Google Docs that is organised into two parts.
At the top is a list the standards and their descriptions for the unit. I might include an empty table for vocabulary, but no words.
At the bottom is a list of problems or online resources.
Before students get started with answering questions and getting help, I get the entire class working on sorting these questions into the related standards in this document. A flurry of cutting and pasting ensues:
The number of edits and simultaneous users is a pretty cool indication that this document, in less than a couple of minutes, ceases to be mine, and begins to be ours. Some students then upload solutions to problems as they complete them, or can pose questions below a problem that another student might answer.
It isn’t a perfect system at all, but feels a lot better than printing out a set of problems that show what I value in assessing the standards. That represents a line segment that starts at my computer and ends at the student’s notebook. This system at least approaches a more complex interaction of ideas and synthesis at the end of a unit of study that helps both the strong and the weak students make progress before an exam. | https://evanweinberg.com/blog_archive/2016/11/07/collaborative-review-with-google-docs/ |
What Is A Dimensional Analysis Problem?
What is a dimensional analysis problem? Dimensional Analysis (also called Factor-Label Method or the Unit Factor Method) is a problem-solving method that uses the fact that any number or expression can be multiplied by one without changing its value.
How do you solve a dimensional analysis problem?
How do you do dimensional analysis word problems?
How do you do dimensional analysis practice?
What types of problems can be solved using dimensional analysis?
What types of problems are easily solved by using dimensional analysis? Problems in which a measurement with one unit is converted to an equivalent measurement with another unit are easily solved using dimensional analysis. When converting between units, it is often necessary to use more than one conversion factor.
Related faq for What Is A Dimensional Analysis Problem?
How many miles will a person run during a 10km race?
Therefore, a 10K is 10 kilometers (10,000 meters) or 6.2 miles. It's double the distance of a 5K race.
What is an example of dimensional analysis?
For example, if I want to know how many yards are there in 10 feet, we can recall that 3 feet is equivalent to 1 yard. Then, I can use dimensional analysis and convert feet into yards by using the conversion factor shown below in yellow.
What are the steps of dimensional analysis?
Terms in this set (7)
How do you solve conversion problems?
How many kilograms go into a gram?
Grams to Kilograms conversion
1 gram (g) is equal to 0.001 kilograms (kg).
How do you write conversions?
How do you solve a metric word problem?
How is dimensional analysis used in everyday life?
(1) To convert units. This is one of the most used applications of dimensional analysis. (2) To check the accuracy of formulas and computations. (3) To determine the relationships among physical quantities.
How do you demonstrate dimensional analysis with an example?
Example Of Dimensional Analysis
For example, 60 minutes is the same as 1 hour, or 1000 meters is the same as 1 kilometer, or 12 months is the same as 1 year. Let us try to understand it in this way. Imagine you have 15 pens and you multiply that by 1, now you still have the same number of 15 pens.
How do you do dimensional analysis with three units?
What is a conversion factor used for?
A conversion factor is a number used to change one set of units to another, by multiplying or dividing. When a conversion is necessary, the appropriate conversion factor to an equal value must be used. For example, to convert inches to feet, the appropriate conversion value is 12 inches equal 1 foot.
Why is dimensional analysis important in chemistry?
Dimensional Analysis is a way chemists and other scientists convert units of measurement. We can convert any unit to another unit of the same dimension. This means we can convert some number of seconds into another unit of time, such as minutes, because we know that there are always 60 seconds in one minute.
How close several measurements are to the same value?
Accuracy refers to how close a measurement is to the true value of what is being measured. Precision refers to how close measurements of the same quantity are to each other, even if they are not close to the true value.
How many laps is a 5K?
A 5K is 3.1 miles. On a standard outdoor track, a 5K (5,000 meters) is 12.5 laps. In 2019, there were 8.9 million 5K registrants in the United States, according to Running USA survey. (Because of the pandemic, most races in 2020 were canceled.)
How fast should I run 10k?
On average, casual runners are usually able to finish a 10k race in 50 to 70 minutes. The median time it takes a person to run a 10k is between 56 and 64 minutes. Someone who is an avid runner in excellent health could expect to finish a 10k in about 43 to 50 minutes. Age is an important factor in your 10k time.
What is the world record for 10k?
World Records
|Discipline||Perf||Competitor|
|10 Kilometres||30:01 Wo *||Agnes Jebet TIROP|
|10 Kilometres||29:38 Mx *||Kalkidan GEZAHEGNE|
|One Hour||18930||Sifan HASSAN|
|Half Marathon||1:05:16 Wo||Peres JEPCHIRCHIR|
What are some limitations of dimensional analysis?
Dimensional Analysis can't derive relation or formula if a physical quantity depends upon more than three factors having dimensions. It can't derive a formula containing trigonometric function, exponential function, and logarithmic function and it can't derive a relation having more than one part in an equation.
Why do units cancel out?
A unit will cancel out if it appears in both the numerator and the denominator during the equation. Multiply through to get your final answer.
What are three uses of dimensional analysis?
We make use of dimensional analysis for three prominent reasons: To check the consistency of a dimensional equation. To derive the relation between physical quantities in physical phenomena. To change units from one system to another.
How do you do dimensional analysis for dummies?
What is the purpose of dimensional analysis?
dimensional analysis, technique used in the physical sciences and engineering to reduce physical properties, such as acceleration, viscosity, energy, and others, to their fundamental dimensions of length (L), mass (M), and time (T).
Why do we convert units?
Help to show another person the exact amount you have. Assist in solving a mathematical problem, especially in chemistry, where you can follow the units to get to the answer. Show which measurement system the person is using (i.e. metric or standard)
What is conversion formula?
Conversion Rate = Total number of conversions / Total number of unique visitors * 100. Conversion Rate = Total number of conversions / Total number of leads * 100.
How do we convert?
How do you go from cm to m?
To convert from centimeters to meters, simply divide the number of centimeters by 100 and change the units to m. The m is an abbreviation for meters. To convert from meters to centimeters, simply multiply the number of meters by 100 and change the units to cm. The cm is an abbreviation for centimeters.
How milliliters are in a liter?
How many ml in a liter? 1 litre is equal to 1,000 milliliters, which is the conversion factor from liters to milliliters.
How many Millimetres are in a Metre?
How many millimeters in a meter 1 metre is equal to 1,000 millimeters, which is the conversion factor from meters to millimeters. | https://www.carvadia.com/what-is-a-dimensional-analysis-problem/ |
scope:
1.1 This specification covers the minimum values for seams fabricated into unreinforced PVC geomembranes in factory and field applications.
1.2 This specification covers PVC Geomembranes in thickness of .25 through 1.52 mm (0.010 through 0.060 in.)
1.3 In addition to structural characteristics, the specifier shall evaluate other characteristics beyond the scope of this specification that affect the final choice of construction. These include, but are not limited to, functional, legal, insurance and economic considerations.
1.4 This specification is not intended to exclude products or systems not covered by the referenced documents.
1.5 The values stated in inch-pound units are to be regarded as standard. The values given in parentheses are mathematical conversions to SI units that are provided for information only and are not considered standard.
1.6 This standard does not purport to address all of the safety concerns, if any, associated with its use. It is the responsibility of the user of this standard to establish appropriate safety and health practices and determine the applicability of regulatory limitations prior to use. | https://standards.globalspec.com/std/3832869/astm-d7408-08 |
10/10/17 Several minor and one major correction made
These tasks assume no previous knowledge of compound sentences and/or conjunctions. They do assume the learner is familiar with simple sentences (i.e. one clause, one verb).
Aimed at E2-E3 students but could be useful at Level 1.
Tasks include joining pairs of Halloween sentences with a suitable conjunction; extending simple sentence with a suitable ‘ending’, and rewriting texts that are initially written using only simple sentence (in order to improve their organisation and readability).
A set of six linked, differentiated texts about Halloween, with associated writing assessments.
Two texts for each Entry Level: an email, a party invitation, a recipe, instructions for a Halloween game, a contents page, and a newspaper article. Writing tasks include an informal note, an email, form filling, a formal letter and a report for a village newsletter.
[img_assist|nid=6104|title=|desc=|link=popup|align=left|width=100|height=71]A Powerpoint presentation designed to prompt discussion and accompanying reading comprehension to advise about avoiding scams.
Editor’s note
With curriculum mapping. Covers reading, writing and SL&C.
A Level 1 reading task based on a BBC news article about problems with London’s Victorian sewers.
It focuses on text types, reading for gist and detail, vocab building and personal responses.
Editor’s note
With Functional Skills mapping.
Functional skills maths.
Extract information from mileage and distance (network) diagrams. Complete a mileage chart.Editor’s note
With worked solutions, pop up help and a final challenge question.
Ideal as an introduction or for revision.
An ESOL reading comprehension based on a BBC News report on the death of Stanislav Petrov, who averted a potential Cold War disaster in 1983.
The text contains several examples of past perfect, reported speech and third / mixed conditionals. The activity combines reading for gist, for detail, identifying vocabulary and identifying parts of speech. An extension activity gives learners an opportunity to write a similar short text, using the same elements of grammar to tell a story about a decision that changed events.
A set of robust questions covering plans / scale drawings, calculating area, finding the best prices, percentages, ratios and much more. Mapped to the L1 and L2 Functional Maths criteria. 12 questions spread across 4 tasks: Loft Conversion, Social Club, College Canteen and Living Room.
A set of Formula 1 scenarios based on the four rules of mathematics and using formulae expressed in words and/or numbers. This resource tests students’ ability to use formulae to solve problems based on a motor racing car travelling on a race track. Some of the scenarios test the students ability to convert units to get a sensible answer. I encourage my students to estimate the answers before attempting for real! Some do, some don’t …
Designed for Entry 3 – Level 2 Functional Skills English.
Students loved this lesson. Can be designed around other areas but covers:
Writing persuasively.
Fact and opinion.
Research write a factual article
Create a poster using appropriate language.
Literacy – aimed at Level 1-2 and links to imaginative writing at GCSE.
Quirky fun starter – find your pirate name. This can be done on mobile phones if there are no PCs.
Comprehension tasks.
After finding the King’s shilling, write descriptive letter home. | https://www.skillsworkshop.org/contextual?q=contextual&search_api_fulltext=&page=8 |
Fulbright grantees should expect to arrive no later than September 2019.
Mandatory
All grantees are required to attend a Pre-Departure Orientation in Washington, D.C. in June or July 2019 as a condition of their grants.
Bachelor's
Master's
Doctoral
Recommended - Intermediate
Additional Information: A level of proficiency in Arabic sufficient to carry out the proposed research is required. Most university courses are now taught in English, with the exception of Arabic, Shari’a and certain law courses.
Independent Study/Research: Yes
Graduate Degree Enrollment: No
The official placement for Fulbright grantees is usually the UAE University, where they may be affiliated with any of the University’s faculties and departments. However, Fulbright grantees may be affiliated with other academic institutions instead. Recent placements have included the American University of Sharjah, the University of Sharjah, Masdar Institute, Abu Dhabi University, and the Petroleum Institute.
It is strongly recommended that applicants identify appropriate host institutions for their projects and that they include affiliation letters with their Fulbright applications. The U.S. Embassy in Abu Dhabi makes the final arrangements in placing grantees at the appropriate academic institutions. An affiliation letter is not a guarantee of research or security clearance, but is essential to obtaining them.
Research clearance is assumed with university acceptance of the grantee.
A security clearance check is performed as part of the visa process.
The cost of living can be extremely high in the UAE. Housing specifically can be exorbitant as new units are generally aimed at the luxury market, making affordable rental units hard to find. U.S. Fulbright students who plan to have dependents accompany them for the duration of their grants should be prepared to find housing off-campus, as on-campus family units are not available. They should also budget accordingly, as the dependent allowance provided by the Fulbright Program is fairly modest. | http://us.fulbrightonline.org/countries/selectedprogram/66 |
A. Chris announced that University Council adopted the plan on Nov 7. The mission and core themes must still be approved by the BOR.
IV. Discussion:
A. Unit Strategic Planning
The Council discussed expectations, final products, which levels of units were obligated to do follow on planning, approval queues, resource planning, sequencing within the hierarchy of organizations, reasonable deadlines, resources for planning help, incentives for planning early, and how to demonstrate and/or confirm alignment with the MSU strategic plan. The Council reviewed an MUS/MSU plan alignment document for reference as well as a sample outline planning process.
The Council’s role is to recommend a unit-level planning alignment process to the President.
--The Council endorsed a timeline that would allow for summer reflection but for final input to occur when faculty and students might be able to weigh in. We will recommend Sept 15 as a final deadline.
Timing for service units (admin, IT, etc.) could be later to allow for responsiveness to the academic and student units.
--The Council endorsed development of a template that would help units align their work at the appropriate level of the strategic plan and consider resources to reallocate or request.
--Chris will draft and distribute for initial review.
--The Council endorsed requiring Colleges, VPs, and others reporting to the VPs to report their plan alignment. Spirited discussion surrounded requiring units at lower levels to similarly plan. The Council landed on recommending leaving discretion to the Deans and similarly situated leaders of units.
--The Council endorsed offering help to units as they plan – to include a training session(s), meetings with planning committees to provide orientation to the MSU plan, and a self-study guide.
-- The Council endorsed communicating expectations widely and developing reinforcing practices, including asking each College to update PC annually on their progress, aligning plans with budget, space, and position requests.
--The Council endorsed PC’s role as reviewer of coverage, not content, leaving content review within each division’s hierarchy.
--Chris will draft a memo to the President with our recommendations and ask all Council members to review and respond quickly.
B. Planning items subgroups
Chris introduced the topic of recommending individuals and groups to the President to champion the items in the plan that need additional planning, e.g. developing a sustainability plan or planning for improved engagement with Tribal partners. Council members were asked to consider nominees. | https://www.montana.edu/planningcouncil/minutes/2018-11-28.html |
If we start from the premise that we want assessment to encourage and support learning, then one measure of the assessment’s effectiveness is better performance on later summative tasks. Mundeep Gill and Martin Greenhow (Gill, M. and Greenhow, M. (2008) How effective is feedback in computer-aided assessments? Learning Media and Technology, 33(3), 207-220) report on work where the introduction of computer-aided assessment had positive impact (by this measure) in all areas but one.
The problem hinged round the presence of correct units with students’ numerical answers, so we might accept an answer of 10 metres, 10 meters, 10 m, but not 10 M, 10 kg, 10 m s-1 or just 10. Like most physicists, this is something on which I have extremely strong views – I regard the unit as a crucial part of the answer. The problem is that the answer-matching for many e-assessment systems doesn’t allow you to check for correct values and correct units at the same time (let alone whether the answer has been expressed to the correct precision etc.). Fortunately this is something that OpenMark handles well – we can check numbers, units etc. etc. and give appropriate targeted feedback on any aspect(s) of an answer that are incorrect.
In the system Mundeep and Martin were using this was not possible, so units were provided for ths students outside the input box; all students had to input was a number. Unfortunately, over the two year period of the investigation, students were observed to be more likely to omit units from their written work. This is another one of those unintended consequences – not exactly a positive outcome for e-assessment. Thank you Mundeep and Martin for your honesty in reporting this; others would be advised to take note. | https://www.open.ac.uk/blogs/SallyJordan/?p=386 |
Issue, certification and directions
If allegations against you or your firm are referred by the SRA to a Solicitors Disciplinary Tribunal (SDT), there are a number of actions that will take place before the tribunal - from the issuing of proceedings to directions to a final hearing.
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The SRA starts proceedings by making an application to the SDT. The application is commonly referred to as the “Rule 12 statement”, after the relevant rule in the Solicitors (Disciplinary Proceedings) Rules 2019.
In effect, it’s the SRA’s indictment and it should set out:
- All the allegations against you or your firm
- The facts relied on in bringing the charges
- Any matters relevant to the charges against you
- Any relevant documentary evidence in support
On receipt of the Rule 12 statement, a solicitor member of the SDT will consider its contents and certify whether there is a case to answer.
This is a low threshold, as it is only necessary for the Rule 12 statement to disclose a prima facie case in order to be certified.
Once the SDT has certified there is a case to answer, a copy of the Rule 12 statement and any supporting documents will be served on you or – where we’re instructed on your behalf – on us, together with directions to a final hearing.
The directions to a final hearing are usually in a standard form and will either include a date for a substantive hearing or, where the SRA estimates the hearing will last over a day, a case management hearing.
Depending on the scope of the allegations made, the volume of documentary evidence in play and involvement of additional witnesses, the standard directions may not be appropriate to your case.
Where this is the case, we can correspond with the SRA and the SDT to negotiate about the timetable to a final hearing to ensure you have enough time to put forward the best defence possible.
Following the above actions, you’ll need to start preparing your defence.
Learn more about preparing your ‘Answer’ and gathering evidence. | https://www.leighday.co.uk/our-services/regulatory-and-disciplinary/solicitors-and-firms/sdt-proceedings/issue-certification-and-directions/ |
Experts warn of challenges for IRFs in FY 2020.
The final rule for fiscal year (FY) 2019 for Inpatient Rehabilitation Facility (IRF) Payment has been published and there are a few changes between the proposed rule and the final one.
What might be of even more interest to IRFs are some updates to the Inpatient Prospective Payment System (IPPS) rules that allow IPPS-excluded hospitals to develop IRF units within those hospitals beginning in FY 2020.
Removes the IRF specific admission order requirement to reduce duplicative documentation requirements; however, IRFs need to be aware that an admission order is still required and that the language was removed to eliminate duplication.
NQF#0680 related to Patient Influenza Vaccinations from the required data collection.
And finally, the final rule updates the Federal Prospective Payment Rates for FY 2019. The Centers for Medicare & Medicaid Services (CMS) estimates an overall increase in IRF PPS payments of 1.3 percent after adjustments which is slightly higher than noted in the proposed rule and results in an increase in the standard payment conversion rate from $15,838 in FY 2018 to $16,052 in 2019.
Effective for FY 2020, and beginning Oct. 1, 2019, the rule will remove the FIMtm from the IRF-PAI and incorporate certain data elements from the Quality Indicators section of the IRF-PAI into the case mix classification system to assign patients to a Case Mix Group (CMG). In response to comments received related to the proposed rule, however, CMS noted that, and addition year of data would be incorporated into the analyses used to revise the CMG definitions for FY 2020.
With only one year to prepare for this significant change, IRFs need to evaluate their practices and processes now to assure accuracy in scoring and appropriate capture of the required data.
An IPPS-excluded hospital may not have an IPPS-excluded unit of the same type.
This rule would allow LTCHs to have both IRF and psychiatric units, psychiatric hospitals to have IRF units and IRFs to have psychiatric units provided all Conditions of Participation (COP) are met for those services.
As we noted in our article when these rules were proposed, the FY 2019 rules include some positive changes related to reduction in paperwork for IRFs and should provide some easing of that work load.
The removal of FIM and realignment of payments using functional scores in quality reporting data will further reduce data collection efforts but IRFs need to be certain that staff assessment skills for the GG codes are at a high level.
The expansion to allow any IPPS-excluded hospital to develop specialty units presents both opportunities and challenges.
Although the FY 2019 changes are minimal, greater changes are expected in FY 2020. | https://www.racmonitor.com/fy2019-final-rule-for-irfs-small-changes-now-bigger-ones-to-come |
We provide electric drive concepts that are tailored to your requirements. Our drive-train concepts include the design and selection of both mechanical and electronic components.
In addition, we select the components suppliers.
After confirmation and approval of the concept, we proceed using the following steps:
- We start by selecting the appropriate control units for the on-board power supply
- The selection of the electric motor including the gearbox
- Then the control units will be developed and adapted to the on-board power supply as well as to the propulsion
- This followed by simulations and test bench analysis, whereupon the drive system will be integrated into the chassis and
- Finally we validate and verify the final solution with your team
If you desire to produce small pre-series batches, this can be realised through consulting and setting a time plan with our development team. The amount of the produced pre-series batches depends on the complexity of the system and the requested ordered quantities.
For Example
Pre-series development of a ferry boat on the river Euphrates with a hybrid system
The following factors had to be considered during the conceptional phase:
- Dead weight of the ferry
- Weight including passengers and loads
- Electrical consumers like fridges, air conditioning etc. | https://www.ntc-systems.com/en/ee-systemsengineering/ |
Ch. 3 & 11 stochiometry & IMF test 70 points AP chemistry
In problems involving any calculation, show your work in an organized manner, include (i) any relevant equation (or formula), (ii) conversion factor(s), (iii) put the proper units in your calculations and answer, and (iv) have the proper number of significant figures in your answer.
1. What is the empirical of a carboxylic acid based on the following results [15 points; weekly quiz question]
2.0 g carboxylic acid + excess O2 → 3.5676 g CO2 + 1.4595 g H2O
2. Fill-in the blank: 5.0 g C2H6 + 15.0 g O2 → __ g H2O + CO2 [10 points; weekly quiz question]
3. The dipole moment of NH3 is greater than NF3. Rationalize / justify. [10 points; Re. email]
4. Describe London IMF in the context a nonpolar compound; include the terms, temporary (or instantaneous) dipole and induced dipole, in your response and the basis of the preceding dipoles. [10 points; weekly quiz question]
5. Sketch the vapor pressure versus temperature graph showing the relative plots for carbon tetrafluoride and carbon tetrachloride. Justify / rationalize your answer. [10 points; weekly quiz question]
6. Old topic: lattice energy. [15 points; past retest question]
a. What is lattice energy ?
b. Which chemical, sodium fluoride or potassium fluoride, has a larger lattice energy ? rationalize your answer. | http://chem-is-try.us/class/ap/exams/2016%20-%202017/ch.%203,%2011.html |
NOTE: ESYS 101, 102, and 103 should be taken by end of the junior year.
ESYS 101. Environmental Biology (4 units) Fall
This course surveys biochemical and physiological processes governing the relationship between organisms and their environments, such as those involved in element cycling and cellular homeostasis. The course introduces biological perspectives on human activities ranging from antibiotic use of genetic engineering.
Prerequisites: BILD 1 or 2 or equivalent, or consent of instructor. (F)
ESYS 102. The Solid and Fluid Earth (4 units) Winter
Earth's dynamic physical systems interact in complex ways with profound impact on our environment. Processes such as volcanism and weathering enable geochemical exchange between solid and fluid (ocean and atmosphere) systems. Sea-level and climate changes interface with tectonic processes.
Prerequisites: Math. 10A, CHEM 6A, Physics 1A or consent of instructor (W).
ESYS 103/MAE 124. Environmental Challenges: Science and Solutions (4 units) Spring
This course explores the impacts of human, social, economic, and industrial activity on the environment. It highlights the central roles in ensuring sustainable development played by market forces, technological innovation and governmental regulation on local, national and global scales.
Prerequisites: Math 10A-C or Math 20B or by consent of instructor or by permission of instructor.
ESYS 190A. Senior Project (2 Quarters for a total of 8 units) (Fall/Winter)
The ESYS Program places a significant value on interdisciplinary problem solving and all majors are expected to complete an integrative Senior Project in their final year. The Senior Project is designed by the student to focus on an interdisciplinary environmental problem or research topic and is developed either individually or as part of a team over two quarters. Appropriate topics for the Senior Project could conceivably include biodiversity conservation, coastal zone management, environmental health, climate change, environmental justice, and/or urban air quality. An important component of the Senior Project is an off-campus or laboratory internship where students might work on, for example, the development of a comprehensive management plan for a threatened ecosystem.
Prerequisites: senior standing, majors only.
!! Important Additional Details !!
Enrollment and Grading Policy: ESYS majors will typically enroll in ESYS 190A in the fall and winter quarters of their final year and ESYS 190B in the spring quarter of their final year. The class will account for four units of credit toward the degree each quarter and will be taken on a pass/no pass basis.
ESYS 190B. Environmental Systems Senior Seminar (4 units) (Spring or Summer Session)
The Senior Seminar provides a venue for the presentation and group evaluation of the ESYS Senior Projects.
Prerequisites: ESYS 190A.
ESYS Upper Division Electives
ESYS 199. Independent Study (2-4 units)
Faculty guided readings or projects in the area of Environmental Systems. | https://scripps.ucsd.edu/esys/courses |
For E9 B how do you find the number of formula units present, how do I convert my answer from part A to get part B?
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- Posts: 54
- Joined: Wed Sep 25, 2019 12:16 am
Re: Fundamentals E.9
To find the formula units of the compound I believe you take the amount of sample and divide it by its molar mass in order to get the moles of the sample. To find the formula unit from the compound use Avogadro's constant
= (5.15g/(246.48 g/mol))(6.022x10^23)
= (5.15g/(246.48 g/mol))(6.022x10^23)
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- Posts: 104
- Joined: Thu Jul 25, 2019 12:17 am
Re: Fundamentals E.9
For B, you don't need to use your answer from A in order to find your formula units! In order to get your formula units when you're given the grams of a sample, you'd have divide it by the molar mass of the sample (in this case, it is 246.46 g/mol which you get this by adding up the mass of each element). Because grams are now canceled out, you're left with the mols of the sample, but the question is asking for formula units. You'd have to multiply using Avogadro's number, 6.022*10^23 formula units/ 1 mol, in order to cancel out the mols and get your final answer. | https://lavelle.chem.ucla.edu/forum/viewtopic.php?f=8&t=46444&p=162817 |
textbook. Answer all questions and (where necessary) clearly motivate each step of your reasoning.
(b) You are guaranteed to excel in tests and examinations if you fully understand how to answer the questions
in this assignment.
(c) Express final numerical answers in scientific notation.
(d) Please write your name and student number on each page of your assignment. Staple all pages together. Work neatly.
(e) The assignment must be handed in BEFORE the start of class on Monday morning, 12 December 2016. No late
submissions will be accepted.
Questions
1. What is Physics and why is it necessary for you to study Physics at BIUST?
2. Within the context of Dimensional Analysis, explain what is meant by the concept of a dimension.
3. Give three examples of dimensions.
4. What is meant by the method of dimensional analysis and why is it useful in Science and Engineering?
5. Use Dimensional Analysis to find a possible equation relating acceleration (a), speed (v), and radius (r) for an object moving at
constant speed in a circle.
6. Given that energy (E) carries the dimensions of mass times length squared divided by time squared, use Dimensional Analysis
to find a possible equation which related energy (E) to mass and speed.
7. The period (T) of a pendulum is measured in time units and is related to acceleration (g) and length (L) via the following
equation (that you will be able to derive at a later stage this course):
T = 2πL
g
(a) Is this equation dimensionally consistent? Motivate your answer using Dimensional Analysis.
(b) Is this equation unit consistent? Motivate your answer.
8. True or false. An equation that is dimensionally correct is always physically correct, up to a constant of proportionality? Give
an example (from high school Physics) to motive your answer.
9. Newton’s Law of Universal Gravitation is represented by the following equation:
F = G
m M
r
where F is the gravitational force expressed in SI base units of kg m/s2
, and represents a distance between two objects with
masses m and M. Determine the SI base units of the proportionality constant G?
10. The period T of a pendulum is measured in time units is given by the following formula:
= 2 +
where g is the gravitational acceleration, m denotes mass, and A is a constant.
(a) Express in terms of SI base units.
(b) What are the SI base units of ?
11. The consumption of natural gas by a company satisfies the following empirical equation:
V = 1.50 t + 0.0800t
where V is the volume in cubic meters and t is the time in seconds.
(a) Explain why the above equation is NOT dimensionally consistent. | https://homework.essaysanddissertationshelp.com/dimensional-analysis-and-convetion/ |
My approach to learning is individual-oriented. Depending on the needs of the student and their learning style, I adapt content and delivery for their unique requirements. Lessons will be friendly but packed with information, and I encourage the developing of your own opinions and contributions in class.
My teaching method is flexible. It depends on the student and the age group. With children, it is all about fun interactive lessons which makes learning fun! Adults also have fun lessons, don't get me wrong, but we focus more on their goals and achieving their goals through measured results.
Students learn through participation and discussion. Oratory skills are polished and various activities enhance in depth understanding of the subject.
I always check what my individual student needs before teaching. Everyone is different and intetest is a prerequisite for learning.
Using an individualised approach using a Reggio Emilio philosophy of utilising the student's interests in a relaxing and friendly environment. Being bilingual assist me in understanding and empathising with people who need to learn English as a second language.
My teaching method is based on an interactive process. It is not just me talking in the class, I give students a chance to come forward and share their thoughts. I try and provide little extra comfort to someone who finds it difficult to come forward in class, and due appreciation to those who don't.
My teaching method will be quite specific to the individual student. While I'm happy to set out a general structure for a lesson based on the current curriculum I will look predominantly to tailor my lesson to the needs of the student. I'm flexible in my teaching.
My teaching method is both patient and interactive! I encourage students to learn using real life applications of language. I believe that everyone learns at their own pace and that lessons should be specifically tailored to meet each students individual needs.
Depending on the level required I tailor classes to suit each individual, from basic reading and comprehension to more advanced writing and critical analysis. Oral expression is the key to success. Different learning methods will be used depending your learning style and ability. I am patient and creative, able motivate students to achieve their goals.
My teaching methods are flexible and can be modified as per the student's current knowledge, pace of learning and the set targets. However, I ensure that review exercises, regular assessments and feedback sessions are included as an intrinsic part of their learning process.
My teaching method is very much based on the needs of the student(s) as I believe that there is no point in trying to force the same help onto everyone. My lessons can therefore be easily adapted to fit any type of student in order to target their specific challenges or goals.
My teaching method is student orientated and I develop lessons and strategies depending on your goals. I hold a strong focus on feedback, encouragement and practice. My main goal as a tutor is to provide my students with the skills to feel comfortable and confident in the given area they choose.
I base my class around you and your needs. My classes engage with current issues and are aimed at helping you to develop key literary and fluency skills. If you are serious about improving your skills, I am serious about helping you to do so.
Aside from target language and communication goals, the main focus of my lesson is motivating students, improving pronunciation, and providing fun, clear and logical techniques for language and cultural learning. I adapt lessons to suit particular class and I enjoy building rapport with students and helping them develop confidence.
My approach is encouagingly communicative, creative, dynamic, and student centred. I adapt lessons to student learning styles, interests, and difficulties. Initial assessment and student goals provide a way to proceed, I map out a plan, and reassessment ajustment is made along the way. Relaxed but paced progress to success.
I try to tap on the students' interest by allowing them to be creative as they express themselves. I engage students in conversations and allow them to gain confidence as they share their opinions and ideas. As for Mathematics, with the help of some colours, songs and other creative methods to remember formulae and multiplication/division.
My teaching methods varies depending on the students or groups. Some students work better by following a book and be guided through it; other students do better with visuals, like movies, songs, talking; and other students prefer a combination of various things. In the end the idea is to find how everyone can learn best and the material gets adapted to them.
Each lesson of mine in ESL would consist of reading, writing, listening and speaking. These are known as the macro skills and form the basis of Communicative English Teaching. Research shows this method gets the best results. As a professional editor and writer my creative writing lessons are expert.
My approach to learning is individual-oriented. Depending on the needs of the student and their learning style, I adapt content and delivery for their unique requirements. Lessons will be friendly but packed with information, and I encourage the developing of your own opinions and contributions.
I approach teaching by first focusing on the students' goals: what do you want to achieve in lessons, and what are some of your long-term goals? I aim to my teaching style to your goals, whether you want to excel in conversational English, hone formal essay-writing techniques, or strengthen English grammar, spelling or reading. I aim to be flexible to your needs, personality and learning style.
I can teach entry-level English to students aged 15-40 I can teach Intermediate/Advanced English to entry-level students aged 15-40 I approach lessons with you obviously being the primary consideration; Where are you up to with your English studies? Where are you succeeding and struggling? What is your goal? These are all considered to tailor a learning experience that appeals to you and...
Friendly environment , Grammar, oral and written comprehension, reading, conversation , oral presentations, dictations, and more .
I accommodate to the student's needs, and try to use different media to get both a cultural and linguistic grasp of the communication point covered. Follow a communicative approach to teaching mostly.
My teaching philosophy is student-centred. I try to create a relaxed environment in which the learner feels comfortable enough to try their best. I also like to research and prepare exercises myself to meet the needs of the student. I have experience helping learners with academic English, business English, English grammar/ pronunciation and proficiency exam preparation.
I have a very learner-oriented approach and tailor my lessons to the target areas that are unique to the individual. My ultimate mission is to develop the writing and critical-thinking skills of my students, while unlocking their creativity and giving them the confidence to approach challenges with a winner mindset.
I'm an experienced ESL teacher and tutor who focuses on communication and use of language to achieve language results. I have a great rapport with all of my students and enjoy watching them grow and achieve their goals. Depending on the kind of student, I will start my lessons with a review of previous learning points and try to use them in a suitable context.
I focus on a student-centred approach within all my lessons. This means the needs and interests of each student is carefully considered when planning my lessons. I will track your progress carefully to ensure you are meeting your learning goals whilst making every lesson an enjoyable interaction.
I am interested to teach in groups as well as face to face lesson. I am committed and reliable and look forward to helping students in the best possible ways by catering to their individual learning strategies.
I believe in collaborative and co-operative learning. I make sure that my students not only learn English but they also enjoy as they learn.
Lives in Southside of Canberra. Happy to visit students home or meet in a public place. Whichever suits the student best. Happy to provide up to 5 hours of teaching per student per week.
Thousands of tutors can teach you ESL (English),
find private lessons close to Canberra.
Pick your own coach to help you learn esl (english). Superprof will help you to find the most relevant tutor: we put together all the teachers skilled in esl (english) in Canberra and close by.
Whether at home or in a classroom, take advantage of the close supervision in Canberra by an experienced tutor. Improve your grades or your performance, refine your accent, work better and more efficiently with someone guiding you. | http://au.superprof.com/lessons/esl-english/canberra/ |
Student Support Services
JKCS is an inclusive school that recognizes the diversity that exists within God's children.
We are a Christ-centred community that offers a safe and caring environment in which all students can develop their God-given gifts and use them as participants in God’s Kingdom. Each child is part of a caring Christian community within the classroom and school.
Student Support Services (SSS) complements and fosters this development and feeling of security by providing support, when needed, to help students function more independently within the classroom.
Our school is committed to providing a positive learning environment for children with exceptionalities. We strive to nurture the unique needs and talents of each child with exceptionalities. This occurs in different settings: individual or small group settings, sometimes in the regular classroom, and sometimes withdrawn from the classroom. We are committed to meeting the academic and social needs of each student to the best of our ability, so that each child may feel like an important, integral part of the classroom community.
Specialized Services
Educational Assistant
Our Educational Assistants play an important role in the academic life at JKCS.
They help develop and implement Individual Education Plans for students, design and deliver instruction, and monitor student progress. The EA collaborates with classroom teacher, the Student Support Services Teacher, and the Student Support Services Director to ensure student success.
Occupational Therapist
Occupational Therapists (OT) work to enhance the student's ability to fully access and succeed in the learning environment. This might include working on handwriting or fine motor skills so the child can complete written assignments, or helping the child become better organized within the classroom (including work space in and around the desk).
Occupational Therapists also work with the teacher to modify the classroom and/or adapt learning materials as needed to better equip the student for success.
Speech and Language Pathologist
Speech-Language Pathologists (SLP) work to prevent, assess, diagnose, and treat speech, language, social communication, cognitive-communication, and swallowing disorders in children.
The SLP may provide suggestions for the teacher to modify the classroom and/or adapt learning materials to facilitate successful participation.
Intervention Program
Response to Intervention (RTI) is a process used by educators to help students who are struggling with a skill or lesson.
Every teacher will use interventions (a set of teaching procedures) with any student to help them succeed in the classroom. If a student is struggling, his or her teacher will use test scores and other measures of progress to choose a researched and proven intervention strategy suited to help the student learn. If a student does not respond to the initial interventions, the teacher will make a referral for the student to participate in an intervention program.
A student may be referred to receive group or individual specialized remedial instruction in reading or math. This is a supplementary program designed to develop and increase skills so the student experiences better outcomes and success in school. The student will work with an Intervention Specialist in the Student Support Services Centre up to a maximum of 4 periods per week.
Intervention Specialists have specialized training to provide small groups of individuals remedial instruction in reading or math. These specialists also work closely with teachers and parents. | https://www.jkcs-oakville.ca/learning/student-support-services |
All theater courses require attendance at specified productions.
Designed to transition theatre arts majors into university life and into the organizational structure of theatre production, this course introduces the student to the culture and resources of the academic community while experiencing the collaborative process of play production. Presented in a lecture and lab format, students will be introduced to the values, culture and resources of the academic community while being introduced to theatre production and the inter-relatedness of scenery, lighting, costume, sound, musical accompaniment, management, marketing and performance. Lab activity requires a minimum of sixty (60) hours of supervised laboratory work in as least one of the following areas: set construction, lighting crew, costume tech, sound tech, running crew, front of house management and rehearsal and performance. General Education: Humanities/Fine Arts Studio; Competency: First Year.
This course will provide a comprehensive overview of the different management styles and responsibilities of stage managers, company managers, production managers and house managers as related to their roles in executing a theatrical production.
This course introduces the student of Theatrical Design and Technology, to the important fundamentals of hand drawing and design for ALL future design applications. Included in this class will be exploration of the principles of hand drawing, color theory, visual research, sensorial expression and all basic design elements as they apply to theatre scenography. It is the first in the series for theatrical design candidates. This class is open to non-majors, space permitting. Every fall semester. General Education: Humanities/Fine Arts.
A beginning in-depth analysis and practice of the physical and vocal instruments based on the Linklater Method. This class is designed to remove hidden blocks that inhibit the human instrument, recondition the mind and body of the actor, and support the development of a vocal technique for effective communication both on stage and in our daily lives. Every semester. General Education: Humanities/Fine Arts Studio.
This course provides an introduction to the world of musical theatre through the study of both traditional and contemporary musical theatrical forms. Focus is on rehearsal techniques for the musical theatre through the performance of scenes and ensemble pieces. Script and music will be analyzed and performances developed using various techniques including improvisation. Students learn the acting concepts for transitioning from spoken word to singing, and ultimately to dance.. Historical and societal context will be explored. This class culminates in a final open rehearsal that demonstrates the student’s proficiency in multiple musical theatre genres. Every semester. General Education: Humanities/Fine Arts.
Designed for non-majors, an exploration of the way theatre both shapes and reflects society, with a critical examination of the various arts and skills involved. Study will include the various artists and technicians participating in the collaborative process of making theatre. Emphasis is on the creative function of the contemporary audience and how individuals of diverse eras and cultures have related to theatrical performance. Every semester. General Education: Humanities/Fine Arts.
The foundations for playing a character will be explored through theatre games, improvisation and scene study. The course will explore the Stanislavski Method for actors. Emphasis will be on script analysis, performance and discussion within a studio setting. Students are required to participate in all course-related activities. Every fall semester. General Education: Humanities/Fine Arts Studio.
This is the introduction to stagecraft, lighting and sound. Using both lecture and practical application students will learn the vocabulary and skill to support technical production for the theatre. A minimum of 30 hours of supervised production work outside of the class is a requirement. Every semester. General Education: Humanities/Fine Arts Studio.
A study of the various techniques and skills associated with the practice of creative drama introduced through three main approaches: activity-based work, literature-based work/story drama, and situation-based work/process drama. Through the use of informal dramatic forms incorporating art, music, stories, games, poetry and improvisation, students will develop a practical understanding of the various skills and techniques needed to use creative drama strategies as an art form and as a teaching tool in a variety of contexts. Every fall semester. Prerequisite: THR 181. General Education: Humanities/Fine Arts Studio.
A studio course concentrating on lighting, sound and technical drawing for stage and studio. Students will work on the transformation of the script into both audio and visual presentation. Individual and group analysis of design/technical needs and solutions are presented. Every fall semester. Prerequisite: THR 182. General Education: Humanities/Fine Arts Studio.
This course will examine the history, philosophy, and significance of one of the quintessentially American forms of performance – the musical theatre. It will explore the context of the musical in the theatre throughout history. Through readings, audio and video recordings, and live performance, this course will examine the Broadway musical from its 19th-century beginnings through the Golden Age and into present-day controversies. This course is organized to introduce the student to the history of musical theatre in the United States with particular attention to the following inquiries: What is musical theatre? How did it evolve? What are the various creative teams in musical theatre? What is the position of musical theatre in society? Consideration of how music theatre developed and reflected the cultural, social, and political landscape of its time will be explored. General Education: Humanities/Fine Arts.
Introductory analysis and practice of jazz for theatre performance. Students develop an understanding of fundamental jazz movement principles with strong emphasis on style, terminology, and skill preparation for musical theatre performance. May be repeated once on recommendation of instructor. Prerequisite: Department permission.
Introductory analysis and practice of tap dance for theatre performance. Students develop an understanding of fundamental tap movement principles with strong emphasis on style, terminology, and skill preparation for musical theatre performance. May be repeated once on recommendation of instructor.
Introductory analysis and practice of modern dance for theatre performance. Students develop an understanding of fundamental modern dance movement principles with an emphasis on terminology, and skill preparation for musical theatre performance. May be repeated once on recommendation of instructor. Prerequisite: Department permission.
A study of the basic skills and responsibilities of the Stage Manager as the master link in the production chain, providing constant communication between the various specialized areas of the production. Focus will be placed on methods of communication whereby all departments are coordinated, kept current with progress and deadlines within the rehearsal process, and are coordinated when in performance. Techniques for complete documentation of all aspects of the production will be studied.
An introduction to the principles and techniques of acting on camera, this course explores different techniques for work with three cameras, commercials, acting for film and acting for television. Focus is given to techniques for various camera types of auditions. Every spring semester. Prerequisite: THR 181. General Education: Humanities/Fine Arts Studio.
Extending the skills, exercises, and techniques introduced in THR 150, Performance Techniques, this course guides the student through advanced work for healthy vocal communication. It begins with a review of what is considered optimal posture and alignment, breath (including support), vibration, resonance, and articulation. The course work aims to provide a series of exercises to free, develop and strengthen the voice as a human instrument in context of human communication and as a performer’s instrument. The International Phonetic Alphabet (IPA) is used as a practical tool for hearing and notating the sounds used in language. Every semester. Prerequisite: THR 150. General Education: Humanities/Fine Arts.
A study of the sources and contributions of the theater in the cultures of past and present world civilizations. Emphasis will be on the conventions, forces and trends which have created and given form to the theater. Covers the period from ancient to modern theater. Every fall semester. General Education: Humanities/Fine Arts.
Theory and practice in advanced techniques of character development inside the context of a scene. Study includes analysis of scene structures, styles and role study. Lecture, discussion, improvisational exploration and laboratory performance. Every fall semester. Prerequisite: THR 181. General Education: Humanities/Fine Arts Studio.
A study of the standards, techniques and skills involved in designing scenery for stage and an application of these principles through design and development of stage design projects: drafting, sketching, visual research and rendering, will be undertaken. Students will engage in practical experience on current productions, lecture, discussion and laboratory. Every other spring semester. Prerequisite: THR 182 or permission of the instructor. General Education: Humanities/Fine Arts Studio.
Through this course, students will gain an understanding of how costumes are constructed for theatre. By way of completed costume construction projects, students will learn: basic hand and machine sewing skills, beginner draping, and construction techniques such as pattern drafting, etc. This class will also touch upon costume craft techniques of millinery, dying and novelty application. Every semester. General Education: Humanities/Fine Arts Studio.
A study of, and a practical working in, the various aspects of children’s theater, including script selection, acting styles, costuming, makeup and scene building, culminating in several productions of a children’s play. In this course, children’s theater is defined as presenting plays by adults for children. Lecture, discussion and laboratory. Every spring semester. Prerequisite: THR 181 or permission of the instructor. General Education: Humanities/Fine Arts Studio.
Designed for majors with participation by non-majors by special permission. Active participation in theatre activities. Theatre Majors must earn one credit every semester, portfolio semester optional. Activity requires a minimum of sixty (60) hours of supervised, laboratory work. This course may be repeated for credit, but not more than three semester hours may be earned in one semester. First and second-year theatre arts students will rotate in scenery, lighting, costume, sound, musical accompaniment, management, company management, marketing and performance. Every semester. General Education: Humanities/Communication.
Advanced course in dance performance and audition techniques and styles of Musical Theatre with strong emphasis on detail and elevated technical proficiency and heightened musicianship skills. Movement studies are performed to familiarize students with a variety of musical theatre dance styles. May be repeated twice on recommendation of instructor. Every semester. Prerequisite: THR 207, 208 and 209.
This course is designed for those students who have achieved & demonstrated an understanding of the basic skills taught in Costume Technology I (THR 284). Costume Technology II will build upon these skills to expand the students’ knowledge & practice of theatrical costume construction. Being a project based course, the students will learn flat pattern drafting, draping, fitting & alterations techniques as well as historical patterning & construction. This course has a lab requirement which will include work on the department’s various productions. Prerequisite: THR 284.
This course serves as an extension of techniques explored in Scenic Art and Craft [THR 383] with particular focus on allied crafts of the props artisan. This exploration in advanced techniques of stagecraft fabrication will include: casting, sculpting, upholstery, sign work, woodwork and welding as they apply to theatrical application as well as advanced scene painting techniques. Historical research and context for projects will be examined, as will be the above fabrication techniques. Emphasis will be given to context (historical research), application of techniques and craftsmanship of form. Prerequisite: THR 383.
See WRT/THR 346W. General Education: Fine Arts Lecture.
This course will introduce the performer to the dynamics of style in the interpretation of song lyrics and musical composition. Examples drawn upon will include classics from the American musical theater, standards from the field of popular entertainment, ballads and unique pieces associated with particular performers. Emphasis will be on performance of sung material in contrasting styles, researching the body of work of selected lyricists and/or composers and the creation of persona in the performance of musical literature. Alternate spring semesters. Prerequisite: THR 150, THR 181 and THR 281.
This course provides an introduction to the world of musical theater through the study of traditional musical theatrical forms. Students learn the acting concepts for transitions from spoken word to singing and then to dance. This class culminates in a final presentation that demonstrates a student’s proficiency in multiple musical theater genres. Every fall semester. Prerequisite: THR 150, THR 181 and THR 281. General Education: Fine Arts Studio.
This course will explore and examine the historical, developmental and fabrication techniques of faux finish decorative painting, history of decorative arts and three-dimensional properties construction. As part of this exploration, particular attention will be paid to research, identification and restoration of historical artifacts. Every semester. Prerequisite: THR 182 or ART 105 or ART 108 or permission of the instructor. General Education: Fine Arts Lecture.
An introduction to the theories and methods of stage and television lighting. The focus is on the use of technology and the design process. Alternate spring semesters. Prerequisite: THR 182. General Education: Humanities/Fine Arts Studio.
This course is an introduction to the theories and methods of stage lighting. The focus is on the use of technology and the design process. Alternate spring semesters. Prerequisite: THR 182. General Education: Humanities/Fine Arts Studio.
An exploration of the collaborative process, students will develop and perform original work created by the group. Performance pieces will be based on a selected theme, starting with individual presentation of material and expanding to a group presentation developed through techniques of devising theatre. Utilizing methods such as improvisation, Viewpoints, spontaneous group writing, solo performance, transformation exercises, and story-telling, the class participants will focus on ensemble building, theatrical design and production, storytelling, music, media, art, movement, voice, and problem solving. Every fall semester. Prerequisite: THR 181 and THR 182. General Education: Humanities/Fine Arts Studio.
A studio course which focuses on the development and study of advanced acting techniques through analysis and performance of works from various theatrical periods. Scenes from each style/period will be performed and critiqued in class after lectures, analysis, discussion and historical research. Prerequisite: THR 181 and THR 281 and completion of 60 semester hours. Spring semester. General Education: Humanities/Fine Arts Studio.
This class will prepare the student for the auditioning process through intensive work on dramatic and comedic monologues and scenes and vocal selections appropriate to the individual skills. Students should have significant theater and vocal experience. This course is experiential with lectures, demonstrations, exercises, breakdowns, simulated auditions and field trips for real auditions. Alternate spring semesters. Prerequisite: THR 181 and THR 281. General Education: Fine Arts Lecture.
A study of the basic principles in the production of plays: play selection, casting, directing, stage designing, scenery, lighting, costuming and publicity. Alternate spring semesters. General Education: Humanities/Fine Arts Studio.
A colloquium to examine in depth a particular question or specific body of work in theater. The course will involve extensive reading and the presentation of a paper. May be taken twice for credit. Prerequisite: Invitation from the department.
With the help of a faculty adviser, students will develop a project that demonstrates their proficiency in an area of theater arts. Areas of specialization may include, but are not limited to, design/technology, stage management, production management, performance or directing. Each project will have a research component and a practical application that culminates in a presentation or performance that demonstrates the student’s ability to grasp and utilize the techniques in their area of specialization. All projects must be approved by a faculty review panel and have final research documentation as part of the final project. A panel or jury of at least three full-time faculty will review and evaluate the final (portfolio) project. Spring semester. Prerequisite: Theater majors in good academic standing who have 90 credits by the start of the semester in which the class is offered.
THR 163 Essentials of Oral Interpretation. General Education: Humanities/Fine Arts.
THR 285 Body Movement and Mime. General Education: Humanities/Fine Arts Studio.
THR 363 Advanced Oral Interpretation. General Education: Fine Arts Lecture.
THR 486 Directing II: Styles, Theory and Practice. General Education: Studio. | http://catalogs.wcsu.edu/ugrad1819/svpa/courses/theatre-arts/ |
Looking past curriculum, there are more lessons to be learned.
Improvisation performances included a lot of imagination from actors, as they did not have any set or props.
As students began to fix their eyes on the end of the semester, Integrated Drama held a variety show November 29 and Introduction to Acting had an improvisation performance November 30. Showing off growth since their bigger productions in October, the students showcased more areas of performing they have learned throughout the semester. Theater classes are semester-long courses, and will be wrapping up soon. However, students have learned skills that go beyond the Black Box, and each individual has experienced personal growth in their own way.
Olivia Wang, Niccolo Ottolenghi, and Ellie Robertson look for ants trying to pick up pennies in their skit.
Intro to Acting focuses on in-depth theater skills for beginning actors, and looks into many key aspects of theater from directing to acting to public speaking. Team-building activities strengthened relationships throughout the semester, and because of this the class has become very supportive and encouraging of each other. Things like individual monologues, two one-act performances, and an improvisation unit has made everyone more comfortable with characterization skills, as well as public speaking.
Many students expressed an interest in learning more about improv techniques, and therefore student teacher Devyn Ward was happy to share her experience in the field. They learned a key concept called “yes and,” focusing on accepting what others come up with and building from that. In their improv showcase, students took word suggestions from the audience for inspiration, using words such as “pencil” or “suitcase.” They used the skills they practiced to come up with short skits on the spot involving these topics.
With about thirty students in the class, everyone struggled to stay focused initially. At the beginning of the year, students were so excited about the class they would lose their concentration on what they were supposed to be working on. As the semester progressed, they learned the balance of when to be excited about things and when to focus, gaining valuable skills such as productivity and collaboration. Through creating productions, students have bonded and formed unique relationships. According to Ward, “Everyone in the class has become very close, after doing the performance. That’s what theater does, it makes everyone closer.” Through this strong support system and encouraging atmosphere, many students were able to step out of their shells. Students who were not comfortable with speaking in front of others initially have gained confidence and communication skills they can use outside of theater. Others who were already comfortable with public speaking and had previous acting experience found ways to go deeper as an actor, learning more about the purpose behind every line.
Trey reads a script he wrote himself.
Although focusing on different things, Integrated Drama had the same takeaways from the class as Intro to Acting. They began the semester with a lot of team-building activities and games, getting everyone comfortable with one another and unifying the class. After that, they went over basic theater principles such as how to create a play, how to read a play, and communication skills while acting. Developing Harry Potter themed plays gave students an opportunity to use their creativity, learn to work as a group, and show off everything they had learned previously.
Following those performances, people were split into small groups once more to look at individual talents and special skills, giving students opportunities to show off whatever they wanted to share with the world. Every group did something different. One group followed Just Dance choreography from “Dynamite” by Taio Cruz, one group recreated a scene from the movie Elf, and another created a mini variety show complete with a host and performers. As well as the group acts, students could do an individual act if they wanted to. There were smiles all around as each student enjoyed their performance and had a lot of pride in what they were doing.
Besides learning about theater and performance, Integrated Drama teaches students about collaboration, cooperation, and working as a team to achieve a big goal. Student helpers were able to learn more about leadership from the class, from teaching games to others or making overall decisions based off individual opinions. Groups learned about taking each idea and coming up with one cohesive concept that everyone could agree on. Additionally, student helpers built connections with other students that were unexpected, and they enjoyed the opportunity to make new friends. Ward was most proud of the relationships that were developed within the class over the semester. She said, “Integrated Drama has been really cool to be able to show that there are groups of people like our special education students shouldn’t be solidified to their one area. We can all interact as one thing and one school, and show that we can all build relationships together.” Everyone experienced growth in their confidence as they became more and more comfortable with others. “Some students at the beginning had a really hard time even communicating, talking to people, or getting close to people. Some students didn’t even want to talk out loud in front of other people and are totally comfortable with it now. It might be because of the environment we built, but it’s really cool to see them comfortable with talking in front of other people,” Ms. Ward explained.
Although these are two different theater classes, with different goals and different units, all the students who took these classes learned the same life lessons. “Theater skills are in general important to every person, no matter who you are. It’s really important to be able to collaborate with other people. It’s really important to be able to take not only your ideas, but everyone else’s ideas and put them together. It’s also important to be able to speak in front of other people, because at every point in your life you need to do those things.” Although this upcoming week is Ms.Ward’s last week of teaching acting at Fossil, she would “suggest theater to anyone ever.” She is proud of all the progress students have made in her classes, and hopes that others take these classes in the future. They build unique connections, and teach lessons on teamwork skills and leadership principles. Beyond just acting, each student found new confidence from these drama classes and will take what they learned with them for years to come.
Hosana sings "Let it Go" with lots of expression.
Really great article, guys! One grammar/style note (because I can’t be stopped) is that you should be careful with how you refer to teachers, as sometimes you just used her last name and sometimes you put a “Ms.” in front of it. Super job, too, with the in-depth article idea – a really great way to cover theatre and keep things interesting! So proud. | https://etchedinstone.org/23555/features/drama-classes-explore-skills-beyond-acting/ |
I am a dynamic teacher with twelve years of experience fostering a love of Latin in my students and motivating them to maximize their potential as scholars. I believe that students thrive and succeed in an environment where everyone feels valued and respected. This has been my guiding principle as a teacher, tutor and as a department chair.
Undergraduate Degree: Rutgers University-New Brunswick - Bachelors, Classics, German
Graduate Degree: University of Georgia - Masters, Latin
cooking, traveling, art history, running
What is your teaching philosophy?
My philosophy of teaching is simple. Students thrive in an environment where they feel respected and valued. As teachers, our words can give students the confidence to try something new and the strength to challenge themselves. It is the responsibility of the teacher to accommodate and to adapt himself to the diversity of personalities and learning styles in his class. In doing so, he can guide everyone entrusted to him to success.
How can you help a student become an independent learner?
Students become independent as they become more confident. As a Latin teacher, it is important to help each student establish a firm foundation in the basics of Latin grammar. Latin requires careful thought and analysis. There are many questions that need to be asked when analyzing the grammar of a Latin sentence or passage. As students get used to these questions, reading becomes easier. As reading becomes easier, students develop an ability to read the text on a deeper level. They are able not only to translate, but also reflect upon the text and make an independent interpretation. That is why we read ancient texts. They have perennial value. It is the goal of the teacher to lead each student to this gift.
If a student has difficulty learning a skill or concept, what would you do?
A teacher has to be patient. There is an expression that goes "all roads lead to Rome". There is not just one way to learn; a teacher has to adapt himself to the student with whom he is working. It is very important to keep the student motivated.
What strategies have you found to be most successful when you start to work with a student?
Positive reinforcement has been my most-used strategy. It encourages the students to challenge themselves, and it also creates an environment that fosters enthusiasm for the subject.
How would you help a student get excited/engaged with a subject that they are struggling in?
My first goal would be to start thinking positively, and to look at the situation as a challenge that we will overcome together. I would then assess the areas of difficulty, and I would create lessons adapted to the learning style of the student. The exercises should also be creative.
What techniques would you use to be sure that a student understands the material?
I ask questions frequently to see if the student understands why they arrived at the correct answer. I also create drills and assessments to reinforce what we have reviewed.
How do you build a student's confidence in a subject?
I build a student's confidence through patience, kindness, and giving them the tools to succeed independently.
How do you evaluate a student's needs?
Every student learns differently. This understanding comes after meeting with a student and identifying their strengths and weaknesses in the subject. As a Latin teacher, I would look at the student's ability to apply rules of grammar, as well as their skills in reading.
How do you adapt your tutoring to the student's needs?
It is different in every case. One year I taught a girl who really struggled with the cases in Latin I. She was from Poland, and English was her second language. I knew Polish had a similar structure of using endings to identify the subject, direct object, etc. I began to teach myself some basic Polish so I could show her the similarities. It worked, and she became very successful. A good teacher simply has to adapt himself to each student. When a student struggles, the teacher must find the unique means that works for each individual.
What types of materials do you typically use during a tutoring session?
I would need to see the student's textbook and workbook to see how the textbook presents grammar. I would also use whiteboards and markers for exercises. I would also look at the student's class notes to see if we could learn how to take more effective notes.
What might you do in a typical first session with a student?
The first session is very important because a good first impression is necessary for bolstering the student's hope that they can and will succeed. After the introductions, I would ask questions about the student's Latin class, what they are working on, what they like best, what challenges them, etc. I would then make a series of exercises based on the student's text to assess the student's abilities.
How would you help a student stay motivated?
Positive reinforcement is the best way to keep a student motivated. The more a student is motivated, the harder they will work and succeed. Attitude has a great deal to do with success; one has to want it. If there is a will to do better, the student will apply themselves with more care.
How do you help students who are struggling with reading comprehension?
I would ask a student to read each sentence one or two times before trying to translate it. Latin uses endings, not word order, to express whether a noun is the subject, direct object, indirect object, etc. During the second reading, the student should focus on the endings of the words in the sentence. I would then ask questions about the text to help them understand the grammar. Once this is clear, we would read the sentence again and translate it. Latin requires careful thought and analysis. Over time, students remember the questions I ask them, and they are able to read with more success and better comprehension. | https://email.varsitytutors.com/tutors/878277295 |
Our teaching philosophy is to maintain a sympathetic, encouraging and friendly student-teacher relationship based on mutual respect.
We work to modify our teaching styles to best suit our students' individual needs and talents. Additionally, every effort is made to pair a student's skill level and music interest to an instructor who best matches these criteria.
While we believe in challenging our students, we are neither intimidating nor condescending. It is important for our students to find creativity and enjoyment through their efforts.
Lessons are offered in the convenience of your home or in our home studio in Sterling, VA, providing a comfortable learning environment.
A typical lesson consists of exercise review, theory instruction, technique development, and repertoire.
Beginning and Young Students
For beginning students, it is important to note that a certain amount of patience is needed for the development of new skills (examples include hand-eye coordination and breathing techniques).
For young students, this stage can be particularly challenging, especially when expectations are not immediately satisfied.
We encourage parents to be sensitive and support their children through the various phases of learning by providing practice reinforcement.
If your child is experiencing particular difficulty, please keep us informed so that we may work together on a creative solution.
Practice
Consistent practice is essential to continued improvement. We recommend regular practice throughout the week plus one weekend day.
We find that students make greater progress practicing a little each day, as opposed to practicing for an extended length of time on one day only. | http://potomacfallsmusic.com/lessons.php |
Primary school teachers teach pupils in public or private schools at the elementary level.
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Personality Type
Tasks primary school teacher
- Prepare daily and longer term lesson plans in accordance with curriculum guidelines.
- Prepare class meetings, e.g. by gathering materials and preparing the classroom.
- Instruct children individually and in groups, using various teaching methods and materials (e.g., computers, books, games), adapting to children's varying needs.
- Maintain discipline and good working habits in the classroom.
- Plan and conduct activities with the children, e.g. sporting activities, concerts and excursions.
- Assign and grade class work and homework.
- Prepare, administer, and grade tests and assignments to evaluate children's progress.
- Observe and evaluate children's performance and behavior.
- Supervise children during classes and at other times in the school day, including the playground during breaks.
- Participate in staff meetings and other sessions, and confer with other teachers concerning educational issues.
- Prepare for and attend parent meetings, e.g. to discuss children's progress and problems (if any).
Related professions primary teaching
- Primary school head
- Schoolchildren attendant
- Special needs teacher primary school
- Teacher assistant
Knowledge
- Learning difficulties
The learning disorders some students face in an academic context, especially Specific Learning Difficulties such as dyslexia, dyscalculia, and concentration deficit disorders.
- Assessment processes
Various evaluation techniques, theories, and tools applicable in the assessment of students, participants in a programme, and employees. Different assessment strategies such as initial, formative, summative and self- assessment are used for varying purposes.
- Curriculum objectives
The goals identified in curricula and defined learning outcomes.
- Teamwork principles
The cooperation between people characterised by a unified commitment to achieving a given goal, participating equally, maintaining open communication, facilitating effective usage of ideas etc.
- Primary school procedures
The inner workings of a primary school, such as the structure of the relevant education support and management, the policies, and the regulations.
Skills
- Assist students with equipment
Provide assistance to students when working with (technical) equipment used in practice-based lessons and solve operational problems when necessary.
- Employ pedagogic strategies to facilitate creative engagement
Communicate to others on devising and facilitating creative processes through the use of a range of tasks and activities appropriate to the target group.
- Perform classroom management
Maintain discipline and engage students during instruction.
- Prepare youths for adulthood
Work with children and young people to identify the skills and abilities they will need to become effective citizens and adults and to prepare them for independence.
- Assist students in their learning
Support and coach students in their work, give learners practical support and encouragement.
- Teach primary education class content
Instruct primary school students in the theory and practice of a variety of subjects, such as mathematics, languages, and nature studies, building the course content based on students' existing knowledge and encouraging them to deepen their understanding on the subjects they're interested in.
- Assign homework
Provide additional exercises and assignments that the students will prepare at home, explain them in a clear way, and determine the deadline and evaluation method.
- Prepare lesson content
Prepare content to be taught in class in accordance with curriculum objectives by drafting exercises, researching up-to-date examples etc.
- Adapt teaching to student's capabilities
Identify the learning struggles and successes of students. Select teaching and learning strategies that support students’ individual learning needs and goals.
- Manage student relationships
Manage the relations between students and between student and teacher. Act as a just authority and create an environment of trust and stability.
- Give constructive feedback
Provide founded feedback through both criticism and praise in a respectful, clear, and consistent manner. Highlight achievements as well as mistakes and set up methods of formative assessment to evaluate work.
- Guarantee students' safety
Ensure all students falling under an instructor or other person’s supervision are safe and accounted for. Follow safety precautions in the learning situation.
- Apply teaching strategies
Employ various approaches, learning styles, and channels to instruct students, such as communicating content in terms they can understand, organising talking points for clarity, and repeating arguments when necessary. Use a wide range of teaching devices and methodologies appropriate to the class content, the learners' level, goals, and priorities.
- Facilitate teamwork between students
Encourage students to cooperate with others in their learning by working in teams, for example through group activities.
- Support the positiveness of youths
Help children and young people to assess their social, emotional and identity needs and to develop a positive self image, enhance their self esteem and improve their self reliance.
- Encourage students to acknowledge their achievements
Stimulate students to appreciate their own achievements and actions to nurture confidence and educational growth.
- Maintain students' discipline
Make sure students follow the rules and code of behaviour established in the school and take the appropriate measures in case of violation or misbehaviour.
- Observe student's progress
Follow up on students’ learning progress and assess their achievements and needs.
- Demonstrate when teaching
Present to others examples of your experience, skills, and competences that are appropriate to specific learning content to help students in their learning.
- Apply intercultural teaching strategies
Ensure that the content, methods, materials and the general learning experience is inclusive for all students and takes into account the expectations and experiences of learners from diverse cultural backgrounds. Explore individual and social stereotypes and develop cross-cultural teaching strategies.
- Maintain relations with children's parents
Inform children`s parents of the activities planned, program`s expectations and children`s individual progress.
- Manage children's problems
Promote the prevention, early detection, and management of children`s problems, focusing on developmental delays and disorders, behavioural problems, functional disabilities, social stresses, mental disorders including depression, and anxiety disorders.
- Assess students
Evaluate the students' (academic) progress, achievements, course knowledge and skills through assignments, tests, and examinations. Diagnose their needs and track their progress, strengths, and weaknesses. Formulate a summative statement of the goals the student achieved.
- Implement care programmes for children
Perform activities with children according to their physical, emotional, intellectual and social needs by using appropriate tools and equipment that facilitate interaction and learning activities. | https://www.123test.com/professions/profession-primary-school-teacher/ |
Thus children’s individual, constant and continuous connection with Geography and Music allows for distinctive learning constructing ideas (Bruner, 1999). “Children have a unique status; they are not merely mini-adults” (Fulton, 1996, cited in Hayes, 2008:3). The 1988 Education Reform Act introduced The National Curriculum; “The school curriculum should aim to promote pupils’ spiritual, moral, social and cultural development and prepare pupils for the opportunities, responsibilities and experiences of adult life” (Bailey and Earl 2010). Geography is a key subject introduced in the act, with the first programme of study for Primary Geography being introduced in 1991. Geography’s two main elements consist of human and physical environments.
First step is children to select the topic. Second step is field sites visits. Introduction The project approach model is an in-depth investigation of a topic related to the real world around children. “Including project work in the curriculum promotes children's intellectual development by engaging their minds in observation and investigation of selected aspects of their experience and environment. (Katz & Chard, 2000, p. 2)” The two essential elements of the project approach are “child-centered activities” and “social reconstruction”.
Family system theory it explains why family act the way that they do in different situations. This theory is typically used in family counseling and therapy; much can be learned from examining it in the context of early childhood settings. Family systems theory has been used in trying to understand problems of students in school settings (Sawatzky, Eckert, & Ryan 1993; Widerman & Widerman 1995; Kraus 1998; Van Velsor & Cox 2000). The need to understand early childhood setting is indicates by professional organization so they can prepare early childhood and elementary professional. The concept of family theory is to help each member of the family by influencing and encouraging each other.
Middle childhood aged children gain weight and height at a steady pace during this stage. More control motor skills grant them increased fluency in reading and drawing. The beginnings of specific athletic abilities are uncovered in this stage through their participation in organized sports. Permanent teeth emerge to replace the baby teeth that they have began to lose. Physical and social development
In order to give every child the opportunity to develop to their best potential, professionals working in the area need to fully understand what influences a child’s development. Child development is a core area of knowledge for professionals required by the skills and knowledge for the children’s workforce, Department for Education and skills (2005a) to improve the wellbeing of children and young people. Mussen et al. (1990, p.5) believes that from studying child development professionals can gain an understanding of changes that appear to be universal, that occur in all children, regardless of culture or personal experiences. To understand how children’s behaviour can be influenced by environmental context or situation, and to be able to explain individual differences.
Those are just two of many. Throughout researching, in the rest of the context written below, these answers will be revealed. Having insight into the understanding of human development, we are able to gain knowledge of humans from the very important stage of childhood right through till adulthood. The positives lye within us as a world being able to help and give a better life from childhood. We are able to teach and understand different ways of conceptual understanding, values, learning, responses, different behaviours and skills.
A separate statement of the NAEYC divides the concept of appropriateness into two aspects--age appropriateness and individual appropriateness. This statement coincides with my belief that children are unique individuals who may or may not reflect the usual characteristics of other children of their same age. I believe that each child is a unique individual who needs a secure, caring, and stimulating atmosphere in which to grow and mature emotionally, intellectually, physically, and socially. It is my desire as an educator to help students meet their fullest potential in these areas by providing an environment that is safe, supports risk-taking, and invites a sharing of ideas. There are three elements that I believe are conducive to establishing such an environment, (1) the teacher acting as a guide, (2) allowing the child's natural curiosity to direct his/her learning, and (3) promoting respect for all things and all people.
Finally, educators with effective communication skills prove an ability to adapt teaching methods to suit the needs of students they are supporting (Kearns, 2012), and with appropriate delivery of good communication, student learning increases. When delivering student education, acquiring effective communication skills involving the delivery of high written and verbal skills, and literacy development is essential for teachers to aid children’s needs for learning, as this assists to prove social and cognitive development for children when the teacher collaborates towards educating children. Good communication skills from early childhood educators ensure children’s skills are enhanced when
Jean Piaget’s theory was based on systematic (schema) study for our cognitive development. Piaget believed that there were stages that you had to achieve in order to move on to the next. The order of the stages: Piagets theory came in to place by observing children. A way of applying his theory to the classroom is “use concrete props and visual aids whenever possible...” (McLendon, 2011) In my practice we set up activities for each individual need of each child to help them progress through the stage of the theory which links to Piagets theory. Lev Vygotsky’s theory was based on social/emotional development needs to show demonstration/imagination to allow a child to progress. | https://www.antiessays.com/free-essays/My-Personal-Theory-Of-Child-Development-601820.html |
Getting regular exercise is one of the best things a pregnant woman can do for her body, both during her nine-month prenatal journey as well as during her postnatal recovery. By following the proper guidelines, maternity fitness can be a safe and rewarding experience for both trainer and client. In this AAPT course, you will learn how to develop sound training programs that address the unique biomechanical and physiological changes occurring during the pre- and postnatal period. Programming for resistance, cardiovascular and flexibility training is discussed in detail, with insight provided on how to modify techniques based on the individual needs of the client. Contraindications to exercise are addressed with respect to each trimester.
Course Learning Objectives
- To prepare the student to understand various terminology related to pregnancy
- Recognize the data and statistics
- Review basic human physiology and responses to exercise
- Identify various body changes that occur during pregnancy
- Instruct clients on evidence-based exercises and fitness goals that are important to include in exercise programs for women who are prenatal, pregnant, or postpartum
- Recognize the symptoms of overtraining in both the mother and the fetus
- Recommend and demonstrate exercises for relieving discomfort and relief of symptoms for the pregnant participant
- Select and integrate mind-body exercises, effective breathing, and relaxation techniques into an exercise program for pregnant women
- How to assess each client’s needs based on pregnancy trimester and/or fitness level, and how to modify exercises to correspond with their physical needs throughout pregnancy and beyond.
Contents
I – Introduction (Time Allocated: 1 hour)
- Terminology
- Data and statistics
- Human physiology
- Pregnancy chronology
- Management
- Society and culture
II – Exercise (Time Allocated: 1 hour)
- Why exercise?
- Exercise effects (before, during, post-partum)
- Caveats: Absolute and relative contraindications
III – Pregnancy and Exercise (Time Allocated: 3 hours)
- Maternal physiology, expectation and cautions
- Exercise programming: | https://www.aaptboston.com/courses/exercise/ |
Lessons are taught in a friendly and supportive way and are designed to challenge the individual; building on their current skills, learning new techniques and exploring the extensive repertoire of music written for the instrument, whilst also being enjoyable and stimulating. All students are trained to become "musical detectives": recognising and learning how to correct problems as they arise, which in turn helps with effective practice. Sight reading, scales/technical exercises, aural, theory, improvisation and composing are all regular activities in lessons, to provide a well rounded musical experience. Quite often students can discover a hidden talent or form a new interest through the work done in lessons (for example several students past and present have found a particular talent for composing, and have created pieces for themselves and other musicians). Piano pupils are also offered the chance to learn the wonderful technique of accompanying; joining with one or more instrumentalists to develop their skills.
I cater to all musical tastes, whether they be classical, jazz or Latin American! ABRSM examinations and regional music festivals are also offered to students who are interested (I accompany all of my students in these performances). Lessons are taught on a weekly basis during term time and students may book slots during holiday periods if they wish.
I organise events throughout the year for students to gain valuable performing experience. Past examples include Hodnet Hall & Wollerton Old Hall gardens, national trust events (Erddig, Chirk castle), music festivals (Birkenhead, Oswestry) and evening concerts. I also regularly arrange recording sessions with students, providing professional quality CDs of performances. Wind players may join "Flute Salad" wind ensemble (see the Flute Salad page for more details).
As every student is unique, lessons are planned according to each individual's needs, aims and musical interests as well as catering to individual strengths. In this way consistent progress can be made, and students are more likely to remain highly motivated, becoming confident and successful musicians. Students should have a real desire to learn, to develop their musicianship and show commitment to regular practice and attendance. In return I offer students my full commitment, knowledge, patience, flexibility, passion for music, humour and energy. I consider music to be a skill for life; I am dedicated to helping each individual fulfill their potential as a musician, and hope that music will remain an important part of my pupil's lives forever, no matter what career path they may choose in the future. Making music truly is a life enhancing experience.
Some of the work specialised in: | http://clairehennie.org/the-lessons/4564417691 |
Drama Therapy: Techniques, Benefits and Exercises
Drama therapy is a form of psychotherapy. It involves the use of dramatic and theatrical techniques to help people resolve conflicts and problems. It can also allow individuals to develop their self-awareness, express their emotions, and improve their relationships.
This form of therapy can be helpful for people of all ages, including children, teens, and adults. Although there is a lack of large-scale studies of the technique, drama therapy appears to be helpful for certain issues, including trauma, abuse, mental health disorders, substance abuse, family conflict, and social issues. .
This article explores drama therapy and its role in improving an individual’s mental health and well-being.
Drama therapy uses the power of theater and storytelling to facilitate personal growth and healing.
According to the Association for Child and Adolescent Mental Health, drama therapy dates back to the 18th century in Europe. Although people used dance and storytelling before this, it wasn’t until then that mental health practitioners used the approach.
Theater became a form of recreation, with people creating plays and exploring their issues. This allowed them to explore their emotions in a safe and controlled environment. It evolved to become more focused, with practitioners helping to redefine it as a therapy in the 20th century.
It is an active, experiential approach that can help people work through a variety of issues, including trauma, mental illness, relationship issues, and personal goal setting. Drama therapists help people explore difficult emotions, process past experiences, and overcome difficult life situations.
Drama therapy maintains the belief that everyone has an innate capacity for creative expression. When individuals explore their inner life through drama, they can access hidden parts of themselves, develop new ways of relating to others, and find new solutions to old problems.
Drama therapy works for individuals, groups or family settings. Therapists can use it in conjunction with other forms of therapy, such as cognitive behavioral therapy or psychodynamic psychotherapy.
As a highly creative and expressive therapeutic approach, drama therapy can be particularly helpful for those who find traditional talk therapy uninviting or difficult.
Drama therapy can treat a wide range of conditions, including:
People can also use it to help with relationship issues, life transitions, and personal goal setting.
Drama therapists can work in mental health and community settings, such as:
- mental health facilities
- schools
- drug treatment centers
- correctional institutions
- Community centers
- programs for seniors
- programs for people with disabilities
- retirement homes
Although there is little research on the effectiveness of drama therapy, some evidence suggests that it may be helpful. A 2021 study used drama therapy in people with serious mental illnesses such as schizophrenia, major depressive disorder or bipolar disorder. After a 9-week drama therapy program, researchers noted a slight reduction in the Brief Psychiatric Rating Scale.
Although there were no significant changes, the results suggested the therapeutic value of drama therapy in alleviating psychiatric symptoms. In addition, participants enjoyed the sessions, which helped them create a new community of supportive friends.
Another one
A drama therapist assesses a person’s individual needs and goals to create a treatment plan. They then use different theatrical techniques, activities and exercises to help the person explore their emotions and overcome difficult life experiences.
These creative methods include:
- narration
- Games
- play comedy
- improvisation
- play a role
- puppets
- creative writing exercises
- guided visualizations
The therapist may also incorporate other media into the sessions, such as music or movement therapy, to address specific issues.
The therapist guides clients through these activities, reflecting on their experiences and helping them find new solutions to old problems.
The therapist-client relationship is an important part of drama therapy. The therapist creates a safe and supportive environment where clients can express themselves freely.
Studies on the effects of drama therapy generally find it to be safe and well tolerated. However, there are a few considerations:
- Therapist-client relationship: Individuals should find a therapist with whom they feel comfortable and who understands their needs.
- Difficult emotions: Drama therapy can evoke difficult emotions. A person must feel comfortable in the setting and have a good support system outside of therapy.
- Technics: Some people may not like using creative or expressive techniques, so it’s important to find a therapist who uses different approaches if necessary.
Drama therapy can be a positive and healing experience for many people. However, results are not guaranteed and the approach requires the individual to show a willingness to explore their emotions. Therefore, if someone is not ready for this type of work, it may not be the most appropriate treatment.
Psychodrama is another creative art therapy that allows people to explore issues by dramatizing events from the past.
Although psychodrama and drama therapy incorporate similar activities, there is one key difference. Drama therapy allows individuals to explore fictional situations or stories. This can include fairy tales, TV series or improvised scenes. In contrast, psychodrama focuses on a person’s real experiences.
Therefore, psychodrama may be more suitable for people who wish to address a specific event or trauma from their past. However, drama therapy can still help them explore these issues indirectly through fictional stories and characters.
If a person thinks drama therapy might be right for them, they can consider the following steps:
- Find a therapist: Look for a qualified drama therapist with experience in dealing with the specific needs of the individual. People can find therapists through the North American Drama Therapy Association.
- To ask questions: Before starting therapy, a person should ask the therapist about their qualifications, experience, and approach. This should help them feel more comfortable and confident in the therapy process.
- Prepare your sessions: It is best to wear comfortable clothes and shoes for drama therapy sessions. They could also bring a bottle of water and some snacks if needed.
Drama therapy is a form of creative art therapy. He uses dramatic techniques, such as games, role-playing, and guided visualizations, to help people explore their emotions and navigate difficult life experiences.
This therapy can help individuals gain new perspectives, increase self-awareness, and build stronger relationships.
A key component of drama therapy is the therapist-client relationship, which must be supportive and engaging to ensure a successful treatment experience. While these techniques can benefit many, they may not be right for everyone. | https://thinklocalfirst.net/drama-therapy-techniques-benefits-and-exercises/ |
The developmental approach of Awareness, Mystery and Value should provide a broad, balanced and relevant religious education curriculum for all pupils, including those with a special educational need. SACRE understands that teachers will wish to create appropriate experiences by differentiating learning tasks, teaching materials and outcomes and by considering issues of access.
By following the arrangement of study units in Key Stages, opportunities for age appropriate work are created. The recommendations of the Dearing Final Report provide schools and teachers with the scope to deliver an age appropriate curriculum while making assessment of attainment at earlier levels. Thus, teachers can follow the Key Stage study units in Awareness, Mystery and Value while relating attainment to the earlier learning and assessment objectives provided (see pages 44-50).
Further support for pupils with learning difficulties is now being provided by the LA SACREs in the form of sample activities for pupils with learning difficulties linked to the Awareness Mystery and Value (AMV) scheme of work. These have been made available on the LA AMV websites .
Although it is important to consider every pupil’s needs in their own right, the following general strategies are recommended in relation to certain types of difficulty:
For pupils with cognition and learning difficulties the learning opportunities in the AMV programmes of study may be covered in less depth and may need revisiting to reinforce learning.
For pupils with physical or sensory difficulties maximum access to the RE programmes of study should be provided through alternative activities as listed in the more specific guidance below or in the sample activities for pupils with learning difficulties on the LEA AMV websites.
For pupils with behaviour, emotional and social difficulties SACRE recommends that differentiated activities be provided which make connections with pupils’ own concerns and interests. This may best be done by focusing first on the ‘Examples of Links with Human Experience’ in the ‘Examples of Work at Each Key Stage’ section of the agreed syllabus.
For some pupils with very severe or profound communication and interaction difficulties planning for and assessing progress in religious education may present particular challenges. The Dearing Final Report recognised that generally these pupils do make significant progress in their own terms, but nationally prescribed assessment levels are often too wide to chart progress satisfactorily. SACRE recognises the difficulty this presents some teachers, and that is why sample activities for pupils with severe learning difficulties have been produced and made available on the LEA AMV websites. Although the samples do not provide comprehensive coverage of the study units, it is hoped that teachers will be able to use the samples as models for developing their own ideas.
The wide range of special educational need is only superficially covered in the descriptors: ‘cognition and learning, physical and sensory, behaviour, emotional and social, communication and interaction’, and cannot capture the range of complexity, degree or individuality of each child’s needs. It is beyond the scope of the advice that can be offered here to examine such a range in detail, but guidance may be obtained from Somerset and North Somerset LEA Advisers in Religious Education and Special Educational Needs / Inclusion. In Somerset, there are Special Needs Learning Support Centres in Bridgwater, Frome, Street and Yeovil. In North Somerset, further information and support is available via the website:
www.n-somerset.gov.uk/learning/ > inclusion & sen.
Responding to pupils’ needs when teaching religious education
Religious Education is a subject which lends itself to many avenues of exploration, methods of teaching and styles of learning. The individual pupil’s response to the two attainment targets in the agreed syllabus will depend in part on how ideas are experienced. Teachers of children with learning difficulties will be looking in particular at pupils’ ability to retain such experiences and the degree to which pupils can offer a response and / or explanation of such experiences. All work, including homework, should be differentiated to take account of these abilities.
Teachers can, through Annual Review and in more detailed planning, adapt the school’s scheme of work to produce targets that match the individual needs of pupils.
The principles of good teaching apply equally to all pupils. It is important that teachers consider pupils as individuals rather than in terms of any ‘label’ that may result from a particular need or learning difficulty. Nevertheless, it is necessary to identify pupils’ specific learning difficulties in order that teachers may employ an appropriate range of learning support strategies.
The following strategies are recommended for supporting individual pupils’ learning in religious education in relation to specific learning difficulties, though, of course, individual pupils’ difficulties may range across two or more of these categories:
a) Cognition and learning difficulties
- Present information visually where possible using diagrams, pictures, video and film.
- Break work down into small chunks, reinforced with visual clues, followed by checking for understanding.
- Provide opportunities to reinforce learning.
- Use role-play, drama or ‘freeze frame’ activities.
- Use real objects / artefacts and ask pupils to match with the right label.
- Help pupils to use a CD-ROM in small groups.
- Use peer support to help pupils understand complex text.
- Provide a variety of ways of recording work such as video, audio-cassette, diagrams, sequencing exercises, charts or paintings.
- Use writing frames and mind maps to support written work.
- Provide access to a laptop to complete all free written work.
- Produce individual ‘survival pack’ for topic being studied.
b) Physical and sensory impairments
i) Visual
- Ensure that written materials, worksheets, religious texts and pictures are of sufficient size and clarity. Be aware of the minimum print size required for individual pupils.
- Use the Widget Software ‘Writing with symbols.’
- Seat appropriately to ensure that the pupil can see clearly and avoid light glare.
- Produce worksheets on suitable colour according to pupils’ needs.
- Use bold colour pens when writing on white boards.
- Make use of tactile and audio materials, e.g., artefacts, religious music.
- Produce individual materials, especially if using whiteboard or OHP.
- When using video programmes with text produce a transcript for the individual pupil.
- Encourage oral participation, especially useful when discussing moral issues.
- Encourage use of magnifying word processor to complete all free written work.
- Provide large electric magnifier for use in the classroom.
ii) Hearing
- Seat appropriately to ensure that the pupil can hear accurately.
- Explore possibility of using microphone but remember not to use raised voice.
- Provide transcript of video programmes being used.
- Produce key vocabulary lists for pupil.
- Provide the pupil with a variety of ways to express understanding.
- Use peer support when on school visits.
- Present information visually to assist with the learning.
iii) Physical
- Provide a suitable, safe environment.
- Ensure easy access to the learning environment.
- When organising a visit to, e.g., church, synagogue, check accessibility.
- Adapt materials for creative work, e.g. spring loaded scissors, jumbo pencils.
- Provide alternative ways of recording information, e.g., audio tape.
- Encourage use of computers, if appropriate.
c) Difficulties with communication and interaction
- Use movement, mime, dance to develop and express a theme, e.g., using the natural environment to illustrate a religious theme such as the conflict between good and evil or creation.
- Use games or creative tasks to enable pupils to show understanding.
- Encourage pupils to draw religious artefacts or symbols or create their own symbols or pictures.
- Use the Widget Software ‘Writing with symbols.’
- Use the signs, symbols and photos etc contained in the ‘Somerset Total Communication’ (STC) programme (details available from speech therapy advisers at Resources For Learning, Parkway, Bridgwater, TA6 4RL, or email [email protected]).
- Encourage pupils to make/cook food to celebrate a religious festival.
- Use music, candles, pictures, video, to support guided reflection.
d) Autism
- Ensure repetition and routine.
- Use Picture Exchange Communication System (PECs).
- Ensure materials and tasks are visually clear.
- Use the Widget Software ‘Writing with symbols.’
- Prepare carefully for new situations. e.g. visit to a place of religion .
- Provide a quiet, reflective environment.
- Be aware of individual needs and cultivate their strengths and interests.
- Produce structured tasks as abstract tasks can increase anxiety.
- Use the signs, symbols and photos etc contained in the ‘Somerset Total Communication’ (STC) programme (details available as above).
- Allow for one to one activities rather than group activities
- Use computers to record information.
- Make use of research published by the University of North Carolina at http://www.psychiatry.unc.edu/research.
e) Behaviour, emotional and social difficulties
i) Low self-esteem
- Raise self-esteem through helping pupils to become more aware of their own beliefs and values.
- Use pupils’ interests to encourage participation in activities.
- Provide opportunities for small group discussion and relaying views into whole class discussion.
- Encourage maximum participation through, e.g., role-play, art, music, reflection exercises.
- Use visualisation techniques to encourage feelings of self-worth and self-acceptance.
- Offer meaningful praise, reassurance and encouragement as often as possible to encourage self-esteem.
- Allow time for pupils to engage with learning and gradually increase the range of activities and demands.
ii) Challenging behaviour
(a) Create a positive atmosphere.
(b) Select tasks and materials sensitively to avoid unnecessary stress for pupils.
(c) Encourage an awareness of self and others.
(d) Establish a set of rules amongst the group establishing positive examples rather than negatives.
(e) Use exercises which encourage empathy with others’ situations.
(f) Focus discussions away from the individual by using, e.g., video, drama, role-play, ‘third person’ viewpoint activities.
(g) Explore values and beliefs that impact on people’s responses to each other.
(h) Where appropriate, use ‘time out’ techniques which could involve moving about, e.g., take a book to a shelf, etc.
iii) Disaffected
- Encourage involvement in pupils’ own learning, through, e.g., self-assessment activities.
- Use pupil feedback from small group activities to help in planning future lessons and activities.
- Use pupils’ own interests and link them to specific RE topics, e.g., the issue of sufficient facilities for young people could be planned into units on ‘friends, belonging and the community’.
- Actively involve pupils in discussions by focusing on the issues that matter to them, e.g., rules, bullying, fairness, treatment of animals, etc.
- Concentrate on the positive aspects of RE via role-play, creative activities and use of ICT.
- Encourage the learning of useful skills that will benefit them in the world outside the classroom, such as being able to identify, interpret and show respect for different religious symbols, beliefs and other forms of expression.
- Use ‘buddies’ to help them process information and respond positively to their learning.
- Encourage an awareness of self and others within society, e.g., by exploring what it means to be part of a group and how to share with each other.
- Offer meaningful praise, reassurance and encouragement as often as possible to encourage self-esteem.
- Provide alternative methods of recording responses, e.g., inviting pupils to produce their own video programme, art, drama, rap, etc.
- Provide opportunities for cross curricular activities linking with favourite areas, e.g., drama, music, art, ICT, etc.
1Information about LEA websites supporting the agreed syllabus should be obtained from the Standing Advisory Council on Religious Education (SACRE) of the LEAs concerned.
2See advice published by Somerset and North Somerset SACREs: ‘A Code of Conduct for Representatives of Religious Communities Working with Children and Young People’. | http://www.amvsomerset.org.uk/resources/support-for-teaching-children-with-different-learning-needs/ |
I'm a young and driven individual and loves to interact with different types of people and characters. I use a method I like to call "One Level". This means that I'm different with every student. Before I teach my students I like to get to know their personality and character and to do this I have to level with them so I can understand them. This always helps because this makes teaching easier.
I like to work as a partnership to empower and inspire my students in creating a method that works for them. No one single method will work for everybody. I draw on many different methods, although I highly recommend reading 'A Practical Handbook for the Actor' as a starting point for students aged 11+. For me, honesty is key in Acting and Musical Theatre.
The way I teach is through personal experience things that have worked for me and things i have learnt along the way that will hopefully help others.
I believe performance is a skill which lends itself to allow an individual to become successful in many areas of life. From confidence building, to mental wellbeing, acting covers many areas. I'm a firm believer in the need to play, and to continue to play well into adult hood.
I completely believe in the practical aspects of training. Notes will be there which will not be long lasting as this profession will always be growing day by day in every way. In every way I am with all of you, so don't worry.
My teching method is about base my student first of fall they understand what is the basic think about acting what is stage how to use it, how to focus on his strenght. how to show confidentlly your inner confidance.
I like to challenge actors to explore the roles and parts that they can take on, providing them with a variety of opportunity for progress. I look at each student individually and help them to develop their skills in order to build in confidence allowing them to perform at their best.
I am a playwright and screenwriter, nurturing confidence and creativity first, working on structure in writing, articulation for performance, the differences in form and genre. Working towards LAMDA exams - speech, confidence, writing your own stories, creative vision and imagination. Admissions/interview techniques for schools and universities also available.
My method of teaching would be practical. I have numerous resources catered to GCSE and A level surplus and mark schemes. Acting for a grade and acting training are two completely different kettles of fish, i can cater for both.
I'm currently a student at the University of Nottingham, aiming to offer coaching to young people who are interested in acting. I aim to offer personalised sessions based on what students need to focus on ranging from working on a monologue for an audition to teaching techniques to improve improvisation.
I am an Actor in professional training. These classes are aimed at high school, high school and / or undergraduate students who are interested for the first time in the Theater, in the Performance and in the development in their daily life, as a professional. However, it is not only dedicated to students without previous knowledge, but also for those who have an interest in learning more.
Award winning actor, director and teacher Are you needing support with an audition? Nervous about performing as part of your qualification? Have to deliver a speech/presentation to an audience? I am able to provide you with professional support and direction to enable you to realize your potential and perform to the best of your ability.
As a child I was always watching 'Power Rangers' and wondered how in the name those actors ended up doing that as a job! and where do i sign up? A few years past and I found myself applying for LIPA on their foundation certificate course to further my knowledge having always partook in my high school productions and throughout my schooling.
My classes will be physical with some reading for research (learning about different practitioners). I want to broaden your minds to acting styles and for you to ask any questions you may have about this scary industry! (No question is a silly question).
My teaching methodology is always practical based but when teaching on a one to one basis I aim to make the class person centred to cater for the individuals needs.
To become a better actor, you don't as much as "Act" but put your real emotions in play. So that is what I am here to help you out with..
It is very important to know the fundamentals, in other words you need to know the rules before you break them. After that i'll always try to encourage you to the best version you can be.
I believe in bringing the most out of my students through what they already possess within. Acting can be big, it can be theatrical, it can be Hollywood. I also believe acting can be subtle, natural, and approached in a way that embraces what you already harness within.
My training varies depending on what’s happening in the entertainment industry at the moment.
My teaching style is to guide you through a toolkit of approaches to thinking like an actor, creating emotional connections for truthful characterisation and to embody the character fully. I also help those who want to have confidence in all walks of life. Using techniques to create, presence and confidence.
I use a range of activities and practices to help with confidence and character building that can be applied to your work, as well as focusing on topics specific to you and coaching you to perform to the best of your ability.
I believe that every student is different, and my teaching style reflects that. With some students I will provide detailed notes, with others short bullet points, and sometimes a more direct approach, standing up and showing examples whilst giving verbal notes. With groups I can give personal notes and group notes, and give excercises to improve group teamwork.
My aim as a teacher is to help students learn various techniques, such as those taught by Stanislavski and Bertolt Brecht, and methods that help them progress as a performer and as an actor. Therefore, I offer a relaxed approach and try to understand my students needs completely before approaching monologues and then let them understand their various choices I want to make throughout that piece.
I work 1:1 to support you in achieving your performance goals. I adapt my teaching to suit the individual but I am very much rooted through exploring text and emotions through voice work. Releasing your voice and your potential. I coach accents and dialects for stage and screen. I work with business people and companies to develop public speaking and presentation skills.
My method of teaching is based on Stanislavsky method.Stanislavski developed the technique in the early 1900s and they have been used ever since to help actors create believable emotions and actions in the characters they portray. Stanislavski method acting is basically in seven steps, these techniques where developed to help actors to build beliveable characters.
My teaching method is through fun and experimentation. I begin with a thorough physical warm-up and teach physical techniques such as mime. Using these initial techniques I lead students through exercises and improvisations towards a final devised performance. I find this technique gives a thorough understanding of the topic and builds confidence and skill in a short time.
First and most importantly is the style of actor you want to be, once we go from there we can build on that idea. I have been in a great variety of productions and have had to practice many different acting styles from children's theater to Shakespeare, knowing when to be comedic and how much comedy is needed at the given moment and when to be dramatic.
Singing Tutor, Acting Tutor, Accent Reduction Coach, Vocal Coach and Speech and Drama teacher who will enhance your true potential and build life-long confidence! - Which subject(s) do you teach? I teach Jazz Singing, Musical Theatre Singing and Technique, Speech and Drama (I put students forward for the graded exams, medals and diplomas for LAMDA, Trinity & Guildhall, RADA and Victoria...
My style of teaching changes depending on the age, groups size and individual(s). Different things work for different students and different students will require different outcomes. My formalised experience is primarily with High School students but I have worked with younger students on a volunteer basis.
I work collaboratively with students, focusing on a teacher-led interactive methodology that prioritizes process driven character development, internalization, physicality and developing a strong understanding of creative practitioners and cultural theory.
Thousands of teachers can teach you acting. Find private lessons closest to you.
Our professors write articles about their subjects to help you better understand the material. | https://www.superprof.us/lessons/acting/united-states/10/ |
Karma R.
Certified teacher with 3+ years experience and 120 hour advanced TEFL certificate and Childhood development
- About
- Schedule
- Resume
- Subjects
About the tutor
My name is Karma. I am 34 years old, and live in beautiful Cape Town, sunny South Africa. Thank you for your time and consideration. I look forward to having an opportunity to meeting with you. My open and outgoing personality together with an excellent ability (and willingness) to learn quickly and adapt to most stressful situations are qualities that make me an outstanding teacher/employee. I would love to work with you by broadening your English language skills and promise to work with sincerity and also will not give you any space for complaints. I am good at team work, interacting with people and always going the extra mile in helping others.
I have always been a team leader, always been a peoples person with lots of integrity, commitment, strong communication skills, expertise, courage, discernment, focus, generosity, initiative, passion, positive attitude and problem-solving abilities. I take great pride in the ability to develop relationships with my students. I have always had a very patient, caring, and kind personality. It is my highest priority to have knowledge of my learners and have great dedication to teaching and engaging students in learning. I provide an energetic, fun, professional, cool and calm environment.
I have completed my 120 hour TEFL certification course accredited through FullCircle.com in January 2021 seeking to teach English online to both children and adults. I have a quiet environment that is purely dedicated to my online classroom. I have been teaching on- and offline for the past 3 years ☺
I believe a good teacher is a caring individual that creates a classroom community dedicated to the holistic development of students. A school is not only a place where students can build knowledge, but also a place to
develop social skills and grow as an individual. I believe that every student should be celebrated, and that teaching must encompass differentiation and flexibility to best suit the needs of each unique learner.
Apart from shaping my philosophies, completing the 120 hr advanced TEFL course has prepared me in many other ways for teaching. Here, I have developed the skills to create lesson plans and long-term units in
multiple ways for the English language. Daily I have the opportunity to observe and teach an 8 year old autistic boy and am currently working on a case study with students with high needs for yet another course. I’ve learned how to develop curricula that bridge multiple subjects and actively engage students, and I’ve learned how to accommodate learners with different needs and challenges.
I am committed to a deep respect for the dignity and inherent worthiness of each person. Without acceptance of others, students aren’t able to fully learn in the classroom or in their lives. In order for students to accept others and appreciate diversity, they will be asked to challenge their ways of thinking, which is something I believe in for all subject areas. Moreover, I deeply appreciate the value of every student. Every student has something to offer whether it be their unique way of thinking or the experiences they’ve had. As the Philosophy states, “We are
also committed to the inclusion of diverse cultural values and knowledge.” I am committed to valuing every student for his or her unique contributions.
In all of my classes, especially my education classes, I will encourage myself to push myself and to ask my students to dig deeper as well. I will always remember the saying, “If you set high expectations for your students they will rise to meet them.” I believe that by setting high, yet attainable goals for everyone, my students will be
encouraged to work hard and believe in themselves. As I push myself and my students to dig deeper, I encourage each of my students, and myself, to be a lifelong learner. I value the habits of intellectual curiosity and persistence, critical thinking, self-reflection, and imagination, and I apply them in challenges within classrooms and the larger culture. I hope to inspire curiosity in my students by making the learning accessible, student centred, and deeply engaging.
Working with such a variety of personalities taught me to recognize every child as an individual and to
learn about and celebrate their differences. In all of my experiences with teaching or caring for children I’ve encouraged positive and active learning experiences while creating an environment where kids can feel safe and
appreciated. In addition, I am an extremely dedicated worker and believe in making strong and lasting ties with my employers, the students, and families.
Thank you so much for your consideration.
Hey,
I know things can sometimes seem to get hectic especially with learning a foreign language, but remember I am here to walk this road with you. If you are still looking for lessons, I am right here for you! I’m a patient and effective teacher who love to make learning fun. My lessons are counted by the hour or as otherwise discussed. You can take blocks of two lessons per day, five days a week if you want intensive training. Alternatively, you can be more relaxed and take one lesson per week. Whatever suit your needs.
✡️⭐WHY CHOOSE TEACHER KARMA?✡️⭐
"Know well what holds you back, and what moves you forward - Buddha"
💜Customized and Curriculum-based Lessons
💜Special needs Experience
💜Conversational Queen
💜120-Hour TEFL Certified
💜3+ years of teaching experience
💜KIDS 3 – 5 BEGINNERS
💜KIDS 6 – 12 INTERMEDIATES
💜TEENS and ADULTS
💜Clear neutral accent and native speaker
💜American English
💜Fun and engaging lessons for beginner to advanced students
💜Build confidence
💜Learn new vocabulary and dictation
💜Creative techniques to help beginners, fun props, and visual aids
💜I am very encouraging and will support you on your learning journey
💜Fast improvement
I’m flexible when it comes to the number of lessons you want. You can choose to take as many lessons you want. If you’re not sure, book a trial lesson and we can discuss what the best option for you might be.
Trial Lessons
The trial lesson is a great way for us to learn more about each other and to help you decide how I can be of assistance to you. It’s also a good way for me to assess your level and get an idea of what you need help with.
I would love to work with you! You can book your lessons through my profile whenever you’re ready.
I’d love to teach you.
I look forward to hearing back from you!
Contact me and we’ll arrange a trial lesson!
Schedule
Choose the time for your first lesson. The timings are displayed in your local timezone.
Resume
Education
Work experience
Certifications
2012 — 2012
University of Cape Town
Event Management
2022 — Present
Language Academy
Online English Teacher/Tutor
2022 — Present
Amazing Child
Online English Teacher/Tutor
2021 — Present
Queen's English
Online English Teacher/Tutor
2020 — 2021
Teaching English as a Foreign Language
TEFLCertificate verified
2018 — 2022
PlaySA
Early Childhood Development
Subjects
English
- Conversational English
- ✡️ Conversational, Reading, Writing and Dialogues
- ✡️ Talk about travelling, countries, technology and WHATEVER TOPIC you would like to discuss.
- ✡️ Current issues
- ✡️ You suggest a topic or area you want to focus on, and I design a lesson around that
- Business English
- ✡️ Business-style conversation
- ✡️ Telephone Ethics
- ✡️ Email Writing
- ✡️ Interview Prep
- ✡️ Practice Small Talk in the Office
- ✡️ Conversational, Reading, Writing and Dialogues
- ✡️ Talk about countries, travelling and technology
- ✡️ You suggest a topic or area you want to focus on, and I design a lesson around that
- English for work
- ✡️ Business-style conversation
- ✡️ Email Writing
- ✡️ Telephone Ethics
- ✡️ Practice Small Talk in the Office
- ✡️ Conversational, Reading, Writing and Dialogues
- ✡️ You suggest a topic or area you want to focus on, and I design a lesson around that
- English for beginners
- 💜 Practice Conversation
- 💜 Phonics
- 💜 Reading
- 💜 Vocabulary
- 💜 Grammar
- 💜 Focus on Pronunciation
- 💜 Easy Sentences
- 💜 Topic-Based Learning - interesting topics that YOU like to talk about
- 💜 Curriculum-Based Learning - follow a guided curriculum outline, with reviews and testing lessons. | https://preply.com/en/tutor/1863509 |
Job Type:
Part Time
Pay Range: 14
Organization's Mission: Treating substance use disorders, rebuilding lives, strengthening families, and empowering women.
Position Summary: Working at the Hope Center for Children provides an opportunity to utilize your skills and experience to help young children (0-8) grow and develop in healthy ways! A positive adult relationship with infants and toddlers makes all the difference to their social, emotional, and even physical development. Our unique program focuses on helping children heal from abuse, neglect, and trauma by building trust, creating safe spaces, and strengthening resiliency skills. Children live in a House of Hope facility or in the community with a parent in recovery from substance use and mental health disorders and receive services at the Hope Center each day. This position is important to the continuum of care provided to each family as it includes modeling age-appropriate child development and positive behavioral interventions to help moms improve skills and confidence in parenting.
House of Hope is a non-profit organization providing addiction recovery and behavioral health services to help women rebuild their lives and strengthen their families at seven facilities in SLC and Provo. We are an equal opportunity employer.
Primary Responsibilities: This position offers excellent experience in working with children and families for those interested in social work, psychology, child development and/or women in recovery. This position will be an especially good fit for those who:
- Can make a commitment for a minimum of a year (to avoid disrupting healthy attachment with children).
- Enjoy using creativity and collaboration to problem solve and implement ideas to improve services.
- Have an interest in working with high-risk families and providing direct care in an early childhood setting.
- Have experience working with infants and toddlers and/or with high-risk families.
- Have a skill set of creativity, patience, and energy to work with groups of young children.
- The ability to create and implement a daily group curriculum and adapt therapeutic activities with infants and toddlers of various ages, needs and abilities.
- The willingness to be flexible, try new things, be open to feedback and handle stress calmly.
- Assertive, respectful communication skills with children, parents, group assistants and other staff.
- The ability to work as a team to create a safe, nurturing, consistent environment for young children.
- A desire to grow personally and professionally in the social work, mental health, and child development field.
Desired Qualifications: Education and/or experience in social work, psychology, child development or similar field.
- Good basic computer and writing skills for documentation and record keeping.
- An understanding of professional ethics and boundaries in the human service field.
- Excellent problem-solving skills, conflict resolution abilities and above all, a sense of humor!
Agency Requirements
- This is a non-smoking work site.
- Must be at least 21 years old.
- Must be able to pass a background check and drug test.
- If in recovery, must have at least 2 years of sobriety.
- Must have own reliable transportation and good driving record.
- Must be able to lift 50 lbs. climb stairs, sit on floor, push strollers and other physical maneuvers common to working with infants and toddlers.
- Willing to be compliant with TB, flu and Covid-19 testing and vaccination recommendations for congregate care.
Benefits / Why Work With Us: $15 per hour with degree or $14 without degree for lead in infants or toddlers DOE. Prefer experience in early childhood work setting and/or education in early childhood field, mental health or related degree/experience. Paid training, 401(k) dollar for dollar match up to 5% after one year with vesting schedule, employee recognition and other incentives are available. Federal student loan repayment eligibility through Public Service Loan Forgiveness.
36 hours per week between 8 am-4:30 pm, M-F. One evening per week from 5-7 pm on Tuesday or Wednesday may be required on rotation.
How to Apply: Send resume, cover letter, and 3 professional references to: [email protected]
Location: Salt Lake City
InformationJob Post Link: Visit additional job posting information. | https://utahnonprofits.org/membership/job-board/43-social-work-counseling-case-ma/24157-infant-toddler-group-lead-chil?rootid=1 |
The PACES (Program) Residential Treatment Program at the American School for the Deaf addresses the unique needs of deaf and hard of hearing children and youth, whose emotional (or) and behavioral challenges prevent them from being served in more traditional settings. Established in 1982, and the first program of its kind in the United States, PACES offers effective, comprehensive, individualized programming, delivered by experienced, knowledgeable staff. The PACES program is recognized by the CT State Department of Education, State Education Resource Center, as a Positive Behavioral Interventions and Supports (PBIS) Model Demonstration Program. The application of a PBIS framework to residential treatment has resulted in a dramatic reduction in physical restraints and seclusions, and the infusion of PBIS strategies into the residential settings, is progressive and unique. Located on the school's expansive campus, PACES serves students between the ages of 6 and 22.
The PACES Program is approved as a special education provider by the Connecticut State Department of Education, the New York, New Jersey, Maryland, Massachusetts, Minnesota, Tennessee, Delaware and Rhode Island Departments of Education, and is licensed by the CT Department of Children and Families (DCF).
List of 5 items.
Therapeutic Services
Clinical services are provided by qualified mental health Clinicians, Social Workers, Psychologists, and a Child Psychiatrist, using a variety of strengths-based, PBIS supported, evidence-based interventions. Every student’s individualized treatment approach focuses on the Antecedents, Behaviors and Consequences which contribute to their emotional and behavioral challenges. When appropriate, Psychiatric services include treatment, medication monitoring, family collaboration and consultation.
PACES has an integrated model, which reinforces positive, individualized interventions, that are a part of each student's Individual Treatment Plan, and include:
An Individual Treatment/Behavior Intervention Plan;
Individual, structured, positive behavioral interventions, developed to meet each student's unique needs;
12-week collaborative treatment planning meetings;
Therapeutic interventions such as the Expressive Therapies, including Art and Music, mindfulness activities such as groups to assist with the development of coping skills, Animal-Assisted Therapy (ART), and Therapeutic Yoga.
Family Support and Services
PACES students & their parents
Inclusion into ASD linguistically and culturally accessible, family-focused activities and events;
On-campus family meetings and therapeutic resources to address family dynamics and provide and share ideas related to behavioral assistance in the home;
Regular phone, videophone and e-mail contact with Clinicians, Educators, Related Services providers, Residential Administrators, and Nursing staff.
Assistance with transition planning to include the referral, and/or connection, to programs which will enhance the student’s community integration opportunities after program completion.
Transition Services
Assistance with transition planning to include the referral, and/or connection, to programs which will enhance the student’s community integration opportunities after program completion.
In addition, PACES students receive services from the Transition Hub (T-Hub). The T-Hub provides a variety of services from a total immersion program including functional academics, self-advocacy training and work experience opportunities, to support services including transition assessments, on and off-campus employment experiences, and inclusion in self-advocacy and self-determination activities.
Additional Service Opportunities
If included in a student’s Individual Education Plan (IEP), Psychological and Educational testing and evaluation, medical and health related services (provided in a state-of-the-art Student Health Center), Occupational and Physical Therapy consultation and treatment, Audiology, Speech and Communication services, and Cochlear Implant, hearing aid, and assistive technology support services are available.
Supervision
PACES provides a high staff to student ratio, and all school-day areas are monitored by digital, closed circuit TV. Staff are certified in Psychological Physical Management Training (PMT), and reinforced to use non-physical de-escalation techniques, and positive interventions within the PBIS framework.
2 boys on playground structure
A PACES Education
elementary children standing in a group
The Paces academic program is provided by CT State certified teachers, who are trained in Positive Behavioral Intervention and Supports (PBIS), and Physical/Psychological Management Training (PMT).
Small class size allows for individualized and differentiated instruction, which follows the curriculum framework of the State of CT. In addition, students experience a number of vocational-educational opportunities that include hands-on, academically supported, transition-focused, real world vocational and technical experiences. Experiential vocational classes include Culinary Arts, Woodworking, Robotics, Auto Body and Detailing, and Media. In addition, other class offerings include subjects such as Chemistry, Biology, Algebra, Geometry, Civics, and Standardized Test Preparation.
Autism
PACES Is Broadening Services to include Hearing Non-Verbal Students on the Autism Spectrum
In recognition of the specific needs of students on the Autism Spectrum, the American School for the Deaf (ASD) is expanding its services to enhance the learning and communication potential for this unique population.
Continuing a premier program for Deaf and Hard of Hearing students on the autism spectrum
A comprehensive, strength-based approach to the education and social development of children with Autism Spectrum Disorder
A bilingual (English and American Sign Language) model to enhance and expand upon the acquisition of effective communication skills for deaf, hard of hearing, and hearing non-verbal children with Autism Spectrum Disorder
Educational and environmental supports, and social skills development using the Positive Behavioral Interventions and Supports (PBIS) framework
Intensive support provided by staff with expertise in Educational, Behavioral, Clinical, Occupational, and Communication specialties.
A sensory supported learning and social skills environment
Staff experienced in modalities consistent with populations who benefit from non-verbal communication methods
Serves students between the ages of 3 and 21
215 educational day program
List of 3 items.
Residential and Student Life
The PACES Residential settings are infused with Positive Behavioral Interventions and Supports (PBIS). Students are reinforced and supported by Residential Counselors who positively emphasize the development of independent living and problem-solving skills, leisure time, and socially appropriate behaviors. Collaboration between the residential and educational milieus allows Teachers, Residential staff, and the Clinical Team to monitor and assess student challenges and progress, through the analysis of data collected in all school and residential settings. When appropriate, students are integrated into community-based learning and entertainment opportunities, and athletic events, both locally and out of State.
PACES students have the opportunity to participate in a number of Athletic and Extracurricular Activities including Basketball, Softball, Soccer, Volleyball, Track and Field, Cheerleading, and swimming. In addition, Student Club opportunities include the Martin Luther King Club, Drama Club, Girl Scouts, Jr. CT Association of the Deaf (CAD) membership, a Dance Club, and the French Exchange Club.
Family Education Services (FES)
The ASD FES program provides multiple opportunities for families to engage in their child’s life. Family Fun Saturdays, Family and Sibling sign language classes, Family Learning Weekend, and assistance to families with on-campus housing, whenever possible, for special events and visits to their child.
Admissions Considerations
Children and Youth referred to the PACES Residential Treatment Program have histories of emotional and behavioral challenges in school, home and community settings. PACES serves students with:
A Category in the DSM V that includes the diagnosis of Mental Illness
Pervasive Developmental Disorders
Trauma/PTSD
Reactive Attachment Disorder
Oppositional Defiant and Conduct Disorders
Obsessive and Perseverative Disorders
Intellectual Disabilities with behavioral features
Anxiety Disorders
Children demonstrating an active risk of suicide, a significant risk of harm to themselves or others, a documented history of sexual offenses or fire setting, or, those in need of full-time psychiatric care, are generally not considered for admission to PACES.
Contact us
Clinical Information
List of 1 members.
Karen
Wilson
Clinical Services Director of PACES/PCS
8605702298
[email protected]
Contact Admissions
List of 1 members. | https://www.asd-1817.org/academics/paces |
Cultural activities: The number and schedule of the cultural activities depend on the location; check the location webpage to discover more.
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Course Description
In a world where life is getting more and more complicated, conventional education is losing ground. This course proposes a novel approach to education— i.e., one that can bring learning to life, and is more practical, holistic, creative, expressive, and enjoyable for both teachers and students. Since education is, essentially, a performance art, this course will propose to use drama as a learning tool to develop the social and communication skills of your students.
Participants will acquire novel competences in coordinating and activating groups in terms of emotional management in an entertaining and creative way and, also, applying expressive tools in various educational contexts. They will be active protagonists since the educational experience will be centered on their own abilities. Objectives will be carried out through theatre exercises, improvisations, simulations, storytelling, somatic (body) techniques, games, and group work.
By the end of the course, participants will know new ways to boost participation, motivation, confidence, self-expression and cooperative spirit in the classroom, as well as to manage conflict, and reinforce the teacher-student relationship. They will have also learnt to take the role of facilitators rather than teachers, so they can turn their student into protagonists of their own learning. The course will also help teachers address the needs of students who have difficulties with their social and communicative skills (e.g., students with Autistic Spectrum Disorder, ADHD, emotional and behavioral difficulties).
Continue reading: Discover the learning outcomes and the tentative schedule of this course.
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Course categories: Arts and Wellbeing and Classroom Management
Arts and Wellbeing: By practicing innovative techniques that involve art, psychology, and therapy, the participants in our courses of arts and wellbeing will develop their skills in self-expression and stress management. Thanks to creative activities, mindfulness and yoga, educators will learn how to be more relaxed at school and how to promote alternative forms of communication with their students.)
Classroom Management: Do you want your students to be more focused in class? Thanks to the new educational techniques (such as the flipped classroom, project-based learning, remote teaching, collaborative learning, student-centered learning) your students will participate in class with more enthusiasm creating a fruitful and healthier classroom environment. In our Classroom Management courses, you will enhance your ability to include students with special needs and motivate everyone. Furthermore, you will have the chance of learning how to manage a multicultural classroom and prevent possible conflicts.
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Europass Teacher Academy
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- Course organiser
- Europass Teacher Academy
- Location
- Nafplio, Greece
- Language
- EN
- Topics
- Arts, cultural studies, ethics, philosophy; Literature, languages (incl. CLIL), classical languages; Physical and home education, health, outside of school activities
- Key competences
- Cultural awareness and expression; Literacy; Personal, social and learning
- Target audience
- Teachers & school staff: primary level ; Teachers & school staff: secondary level; Teachers & school staff: special needs
- Price
- 480 Euro
- Included in price
- Course
- Number of participants
- 12
- Certification on completion
- Yes
Upcoming sessions
- 04.07.2022 > 09.07.2022
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- 18.07.2022 > 23.07.2022
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- 01.08.2022 > 06.08.2022
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- 15.08.2022 > 20.08.2022
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- 03.07.2023 > 08.07.2023
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- 17.07.2023 > 22.07.2023
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- 07.08.2023 > 12.08.2023
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- 21.08.2023 > 26.08.2023
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Past sessions
- 05.07.2021 > 10.07.2021
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- 19.07.2021 > 24.07.2021
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- 02.08.2021 > 07.08.2021
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- 16.08.2021 > 21.08.2021
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Rate & review
Reviews only come from verified course participants via the European Commission's Mobility Tool+. If you participated in this course, use the Mobility Tool+ to submit a review. If the course is not listed in the Mobility Tool+ yet, please provide to your project coordinator the following course ID: 171647.
There are no reviews for this course. | https://www.schooleducationgateway.eu/en/pub/teacher_academy/catalogue/detail.cfm?id=171647 |
Profession auxiliary nursing and midwifery vocational teacher
Auxiliary nursing and midwifery vocational teachers instruct students in their specialised field of study, auxiliary nursing and midwifery, which is predominantly practical in nature. They provide theoretical instruction in service of the practical skills and techniques the students must subsequently master. Auxiliary nursing and midwifery vocational teachers monitor the students' progress, assist individually when necessary, and evaluate their knowledge and performance on the subject of auxiliary nursing and midwifery through assignments, tests and examinations.
Would you like to know what kind of career and professions suit you best? Take our free Holland code career test and find out.
Personality Type
- Social / Realistic
- Social / Artistic
- Social / Investigative
Knowledge
- Curriculum objectives
The goals identified in curricula and defined learning outcomes.
- General medicine
General medicine is a medical specialty mentioned in the EU Directive 2005/36/EC.
- Hygiene in a health care setting
The procedures related to maintaining a hygienic environment within a health care setting such as hospitals and clinics. It can range from hand washing to cleaning and disinfection of medical equipment used and infection control methods.
- Learning difficulties
The learning disorders some students face in an academic context, especially Specific Learning Difficulties such as dyslexia, dyscalculia, and concentration deficit disorders.
- Sterilization techniques
The methods and techniques used to destroy or remove microorganisms such as viruses and bacteria that can contaminate medical instruments or any type of material in a health care setting.
- Human anatomy
The dynamic relationship of human structure and function and the muscosceletal, cardiovascular, respiratory, digestive, endocrine, urinary, reproductive, integumentary and nervous systems; normal and altered anatomy and physiology throughout the human lifespan.
- Human physiology
The science of the mechanical, physical, bioelectrical and biochemical functions of humans, their organs and cells in good health.
- Health care legislation
The patients` rights and responsibilities of health practitioners and the possible repercussions and prosecutions in relation to medical treatment negligence or malpractice.
- Health care occupation-specific ethics
The moral standards and procedures, ethical questions and obligations specific to occupations in a health care setting such as respect for human dignity, self-determination, informed consent and patient confidentiality.
- Assessment processes
Various evaluation techniques, theories, and tools applicable in the assessment of students, participants in a programme, and employees. Different assessment strategies such as initial, formative, summative and self- assessment are used for varying purposes.
Skills
- Assess students
Evaluate the students' (academic) progress, achievements, course knowledge and skills through assignments, tests, and examinations. Diagnose their needs and track their progress, strengths, and weaknesses. Formulate a summative statement of the goals the student achieved.
- Promote a positive image of nursing
Present and preserve a positive image of nursing in specific environments of the healthcare and educational spectra.
- Give constructive feedback
Provide founded feedback through both criticism and praise in a respectful, clear, and consistent manner. Highlight achievements as well as mistakes and set up methods of formative assessment to evaluate work.
- Adapt teaching to student's capabilities
Identify the learning struggles and successes of students. Select teaching and learning strategies that support students’ individual learning needs and goals.
- Guarantee students' safety
Ensure all students falling under an instructor or other person’s supervision are safe and accounted for. Follow safety precautions in the learning situation.
- Observe student's progress
Follow up on students’ learning progress and assess their achievements and needs.
- Apply intercultural teaching strategies
Ensure that the content, methods, materials and the general learning experience is inclusive for all students and takes into account the expectations and experiences of learners from diverse cultural backgrounds. Explore individual and social stereotypes and develop cross-cultural teaching strategies.
- Prepare lesson content
Prepare content to be taught in class in accordance with curriculum objectives by drafting exercises, researching up-to-date examples etc.
- Manage student relationships
Manage the relations between students and between student and teacher. Act as a just authority and create an environment of trust and stability.
- Work in vocational school
Work in a vocational school that instructs students in practical courses.
- Apply teaching strategies
Employ various approaches, learning styles, and channels to instruct students, such as communicating content in terms they can understand, organising talking points for clarity, and repeating arguments when necessary. Use a wide range of teaching devices and methodologies appropriate to the class content, the learners' level, goals, and priorities.
- Assist students with equipment
Provide assistance to students when working with (technical) equipment used in practice-based lessons and solve operational problems when necessary.
- Implement fundamentals of nursing
Implement the nursing theoretical and methodological fundamentals and principles, basic nursing interventions on scientific evidence and the resources available.
- Deal with emergency care situations
Assess the signs and be well-prepared for a situation that poses an immediate threat to a person's health, security, property or environment.
- Assist students in their learning
Support and coach students in their work, give learners practical support and encouragement.
- Develop course outline
Research and establish an outline of the course to be taught and calculate a time frame for the instructional plan in accordance with school regulations and curriculum objectives.
- Respond to changing situations in health care
Cope with pressure and respond appropriately and in time to unexpected and rapidly changing situations in healthcare.
- Maintain students' discipline
Make sure students follow the rules and code of behaviour established in the school and take the appropriate measures in case of violation or misbehaviour.
- Facilitate teamwork between students
Encourage students to cooperate with others in their learning by working in teams, for example through group activities. | https://www.123test.com/professions/profession-auxiliary-nursing-and-midwifery-vocational-teacher/ |
On behalf of our students, staff and governors, I am extremely proud to welcome you to Ortu Hassenbrook Academy.
In a smaller school such as ours, every individual counts. Our staff know our students really well and strive at all times to meet their needs ensuring their unique personalities, talents and interests are nurtured and developed to the full.
We are an agile and dynamic school, where improvement and growing popularity are happening rapidly. These are the current opportunities on offer to our students:
- A personalised learning experience to capture their aspirations.
- A rich programme of clubs, trips and activities including Sports, Drama, Art, Music, and Science.
- A full induction scheme at each key stage, including a buddy system in Year 7 and a full coaching and mentoring programme for students, families, the community and professionals.
- An integrated student experience developing students’ cultural capital as educated citizens of the future with local, regional and international overseas trips, a new Year 7 Passport to Adventure, the Duke of Edinburgh scheme from Year 9 and a full Combined Cadet Force programme.
- The development and enhancement of key personal life skills: leadership, teamwork, communication, problem solving, work ethic, flexibility & adaptability, and interpersonal skills.
We will continue to build on the strengths of the school to deliver outstanding education and exceptional care for our students, staff and the local community.
We have an exciting future ahead of us and we are very proud to share our successes and achievements with you through this website. If you would like to learn more, we warmly invite you to get in touch and arrange a visit. | http://www.ortuhassenbrook.org/427/principals-welcome |
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Characteristics of the Kind Lear in King Lear by William Shakespeare
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In Shakespeares play King Lear the main character is King Lear who starts off as a respected and powerful king As the story progresses the king loses his power because of his own stupidity and blindness Throughout the play Shakespeare shows that sight does not just come from the eyes The tragedy of this play is shown through the daughters of the king the fool and finally when King Lears sanity is tested King Lear opens with a conversation between the earls of Kent and Gloucester in which we learn that Gloucester has two sons Edgar who is his legitimate heir and Edmond his younger illegitimate son At the beginning of the play King Lear is powerful and harsh He announces that he intends to remove himself from the kings duties and concerns He will divide his kingdom into three shares to be given to his daughters as determined by their declarations of love for him When Lear asks his daughters who loves him the most he thinks it will be Cordelia the youngest daughter First Goneril lies when she tells her father how much she adores him followed by Regan who proclaims her love is even greater than her sisters When Cordelia says I love your majestyAccording to my bond no more nor less Ii91-93 Lear cannot see past the words all he hears is the words not the meaning behind them He does not hear the words with his heart The king was very upset with Cordelia and because of his anger and disappointment he divided his kingdom equally between Goneril and Regan and banishes Cordelia leaving her dowerless The King of France decided he would marry Cordelia without a dowry Giving the land to his two daughters was the first of Lears mistakes for the older daughters did not love him as much as Cordelia did but they were happy to have his riches Throughout most of King Lear Lears vision is
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King Lear (Король Лир / Korol Lir) is a 1971 Soviet film adaptation of Shakespeare’s play. Based on a translation of the play by Boris Pasternak, the film is directed by Grigori Kozintsev and underscored by the music of Dmitri Shostakovich. As such, the film is a star-studded reunion from these three great Soviet artists’ 1964 film adaptation of Hamlet.
Many people miss out on Kozintsev’s films, unaware of how amazing they are. So, let me try to convince any Tarkovsky buffs out there that Kozintsev is worth watching. Jüri Järvet (King Lear) and Donatas Banionis (the Duke of Albany) would take up the lead roles in Solaris a year after shooting Lear. On top of that, there are many similarities between the directing and cinematography of Tarkovsky and Kozintsev (as well as Parajanov actually). So if you love Tarkovsky and Solaris, you’ll most likely adore King Lear.
King Lear decides to retire and divide his kingdom between his three daughters. To determine how much of the kingdom they each get, he asks them to say how much they love him. The eldest daughters, Gonerilla and Regan, shower the king with obsequious platitudes. However, Cordelia, the youngest daughter, refuses to flatter Lear, saying that her love is “richer than her tongue.”
Furious at Cordelia for not sugar-coating her words, King Lear angrily renounces her. He gives her no share of the kingdom, but instead sends her without dowry to be the King of France’s wife. He then divides the kingdom in two for Gonerilla and Regan, telling them he will visit them every month.
Having given away his kingdom to his two older daughters, Lear soon finds that their previous affirmations of love for him were empty words. They kick him out of their territory, leaving him to wander the land homeless.
Meanwhile, in a parallel to Lear’s familial situation, Edmund the illegitimate son of Gloucester plots against his father and legitimate half-brother, Edgar.
All the drama comes to a head after Cordelia returns to the kingdom with a French army to restore order. Edgar kills Edmund in a duel. Concurrently, Goneril and Regan kill themselves. Tragically, however, Cordelia is executed before justice is restored. The foolish, self-obsessed King Lear, standing over her body, dies of grief. | https://russianfilmhub.com/movies/king-lear-1971/ |
Act I, Scene 1
Q1. What is the question Lear asks his daughters before he makes the division of his kingdom final? What does he expect of his daughters?
Answer – Lear demands that his daughters affirm their love for him. He asks, “which of you shall we say doth love us most?” Lear expects his three daughters to offer him rivaling speeches and declarations of love and affection. However, Lear is looking for empty words and flatteries rather than an honest affirmation of love.
Q2. What is Cordelia’s answer to Lear’s question, and why is Lear outraged by Cordelia’s answer?
Answer – Cordelia declares that she has “nothing” to say to her father in order to deserve her inheritance. She also explains that she only loves Lear “according to [her] bond; nor more nor less.” Lear is disappointed because Cordelia has always been his favorite daughter. He expected her to top her sisters’ flattering speeches. However, Cordelia loves her father with the honest affections of a daughter and refuses to offer Lear the empty and meaningless flatteries he is looking for. Lear does not recognize Cordelia’s sincerity. He is outraged and eventually banishes Cordelia and renounces her as his daughter.
Q3. How does Kent’s reaction to Lear’s banishment of Cordelia introduce the theme of sight and insight?
Answer – Kent understands that Cordelia’s words have expressed true loyalty to her father. He subsequently warns Lear to “see better.” Kent wants Lear to understand that Cordelia’s answer is a more honest declaration of love than the words her sisters have spoken. He realizes that Lear is “blind”; Lear does not “see” true honesty and love. Kent understands that Lear is very superficial, and he offers to help Lear look beneath the surface of appearances and vague flatteries.
Q4. In this first scene of the play, how does Shakespeare establish the parallels between the stories of Lear and his daughters on the one hand and the story of Gloucester and his sons on the other hand?
Answer – The parallel between the two plotlines established in this first scene is based on the relationship between natural and unnatural affections and the inability of Lear and Gloucester to recognize the true characters of their children. Lear misjudges his three daughters. He believes that Goneril and Regan love him, while he insists that Cordelia is an unthankful child who is not deserving of her inheritance. Lear comes to this conclusion based on the artificial and superficial speeches Regan and Goneril have offered him. Gloucester differentiates between his children in a similar manner. He favors Edgar, who is his legitimate son, while he makes fun of Edmund, his son born out of wedlock. Both Gloucester and Lear do not carefully evaluate their children’s characters and actions and only look at the surface of things to form their opinions.
Q5. Explain the ambiguous nature of Cordelia’s farewell to her sisters: “The jewels of our father, with wash’d eyes / Cordelia leaves you,” particularly as she reveals the theme of sight and insight?
Answer – Cordelia’s reference to her own “wash’d eyes” serves as an ambiguous statement that follows the sight and insight theme. Cordelia might refer to her own crying as she leaves her family, but, on another level, she might refer to her own clarity of vision, her insight and understanding into the true nature of her sisters’ love for their father. Cordelia’s eyes have been “washed” and she now sees clearly – she understands that her sisters have been insincere in their declarations of love to their father.
The expression “jewels of our father” also refers to the sight and insight theme. “Jewels” might serve as a synonym for eyes. Cordelia understands that her father falsely trusts her sisters. He “sees” things the way Regan and Goneril want him to see things. By looking at the world through the eyes of Regan and Goneril, Lear is misled and commits the mistake of banishing Cordelia and giving up his power.
Q6. How does Lear’s “love test” foreshadow the way the plot is going to play out and suggest the primary character motivation for the action of the play?
Answer – By promising to divide his kingdom based on who loves him the most, Lear has essentially pitted daughter against daughter. This suggests that sibling rivalry is the predominant motivation.
Q7. What emotional reasons are suggested for Goneril and Reagan’s later treatment of their father and Cordelia?
Answer – Lear clearly favors Cordelia. He says he will divide his kingdom based on each daughter’s profession of love, yet he gives each daughter her share before the others have spoken, saving the best portion for Cordelia. Clearly the two older sisters would envy their obviously-favored youngest sister and resent their father for his obvious favoritism
Q8. What emotions are at the root of the Edmund/Edgar plot line?
Answer – Again, sibling rivalry and the desire for parental affection is at the heart of Edmund’s decision to become a villain.
Q9. How has Lear himself upset the “natural order”?
Answer – Royalty is born to its rank, authority, and privileges. A proper king has an obligation to reign, not merely a prerogative. By abdicating his authority, Lear is essentially abandoning his rightful place in the Universe. | https://englisheclasses.com/2021/04/04/king-lear-study-guide-act-i-scene-1/ |
This article is about Shakespeare’king lear modern english pdf play. For the legendary figure, see Leir of Britain. King Lear is a tragedy written by William Shakespeare.
It depicts the gradual descent into madness of the title character, after he disposes of his kingdom giving bequests to two of his three daughters based on their flattery of him, bringing tragic consequences for all. The first attribution to Shakespeare of this play, originally drafted in 1605 or 1606 at the latest with its first known performance on St. After the English Restoration, the play was often revised with a happy, non-tragic ending for audiences who disliked its dark and depressing tone, but since the 19th century Shakespeare’s original version has been regarded as one of his supreme achievements. The tragedy is particularly noted for its probing observations on the nature of human suffering and kinship. King Lear of Britain, elderly and wanting to retire from the duties of the monarchy, decides to divide his realm among his three daughters, and declares he will offer the largest share to the one who loves him most.
And is escorted offstage – the book she pulled all of Mrs Who’s quotes from. Cordelia restores Lear to the throne, 2001 in Wells and Orlin pp. Korol Lir has been praised, whom she regards as cowardly. Because verbalizing in her own words takes a lot of energy, she no longer respects him. Bearing Lear’s message to Regan, and succeeds him as ruler after his death. Cordelia’s refusal to dedicate herself to him and love him as more than a father has been interpreted by some as a resistance to incest, in Aspects of King Lear edited by Kenneth Muir and Stanley Wells.
The eldest, Goneril, speaks first, declaring her love for her father in fulsome terms. Kent’s protests, Lear banishes him from the country. Lear then summons the Duke of Burgundy and the King of France, who have both proposed marriage to Cordelia. Lear announces he will live alternately with Goneril and Regan, and their husbands. He reserves to himself a retinue of one hundred knights, to be supported by his daughters. Goneril and Regan speak privately, revealing that their declarations of love were fake, and that they view Lear as a foolish old man. Gloucester’s bastard son Edmund resents his illegitimate status, and plots to dispose of his legitimate older brother Edgar. | http://ifotbal.eu/king-lear-modern-english-pdf/ |
There he gave away his kingdom to the two daughters who lied about loving him and banished cordelia-who really loved him from his kingdom. “…For we have no such daughter, nor shall ever see that face of her again. Therefore be gone without our grace, our love, our benison.” (Act I, Sc. I) Lear’s blindness also caused him to banish Kent. Kent was able to see Cordelia’s love for her father and tried to make Lear see the same thing.
Lear then blinded by his own ego and banished the only daughter who loved him. Not only a bad call by saying he was blinded, but to go as far as saying he was mad for his action against his loving daughter. He then gave the heir to Goneril and Regan… He would come to regret that decision. “Then leave her, sir; for, by the power that made me, I tell you all her wealth. [To France] For you, great king, I would not from your love make such a stray, To match you where I hate; therefore beseech you To avert you’re liking a more worthier way Than on a wretch whom nature is ashamed Almost to acknowledge hers.” Lear enraged says this in front of all his guests and the King of France.
Another sequence is the gouging of Gloucester's eyes by Cornwall. A third sequence which shows the indifference of opinion within the characters is Lear's death at the end of the play. As the play opens up, Gloucester and Kent are speaking of Lear's intention to divide his kingdom according to a test of love. It is this test of love which causes Lear to banish his most beloved daughter Cordelia. When asked how much she loves her father, Cordelia replies that she loves him according to her bond, no more nor less .
In the first act King Lear commands his daughters to profess their love to him as payment for their part of the kingdom. The conflict starts when Lear’s youngest daughter Cordelia refuses to respond to the king’s request, due to the fact that she does not want to lie to her father. Lear comes across as a very egotistical man who has to have everything his way. Therefore, due to Cordelia’s response it would make sense for him to become so enraged that he would ruin her marriage with Burgundy. Lear makes it very apparent that he wants all of Cordelias love and isn’t satisfied with Cordelia’s words which are not offensive, but hurtful to her father who desires all of her love.
The focus in this scene is to show that Lear has so much pride that it made him blind to Cordellia’s love and the reason to why he loved. His pride made him think that flattery is love thus he gave everything to Goneril and Regan. This was his biggest mistake, leaving him completely dependent upon his two hateful daughters. He kicked Cordellia out so there is no hope of him being helped now. Imagery: blindfolded & candle on Props: red cloth, lots of chairs, map, crown of jewels.
Lear’s scheming older daughters, Goneril and Regan, respond to his test with flattery, telling him in wildly overblown terms that they love him more than anything else. But Cordelia, Lear’s youngest (and favorite) daughter, refuses to speak. When pressed, she says that she cannot “heave her heart into her mouth,” that she loves him exactly as much as a daughter should love her father, and that her sisters wouldn’t have husbands if they loved their father as much as they say (I.i.90–91). In response, Lear flies into a rage, disowns Cordelia, and divides her share of the kingdom between her two sisters. The earl of Kent, a nobleman who has served Lear faithfully for many years, is the only courtier who disagrees with the king’s actions.
King Lear is losing his mind, he is being back stabbed and lied to by his daughters when all he wanted from them was to see how much they truly love him and hear the truth on how they really felt about him. While reading “King Lear” written by William Shakespeare I noticed that many conflicts and character feuds occurred. The first act starts with character conflict between Cordelia, Goneril and Regan when King Lear orders them to express their love for his land. While Goneril and Regan exaggerate and tell their father what he wants to hear, Cordelia tells the truth and receives nothing. As the act continues you see separation between the family.
Throughout Shakespeare's story of King Lear, readers might see a similarity between King Lear and Gloucester. Initially, you feel as if King Lear and Gloucester are, in a sense, bad people for abandoning the individuals that care about them the most. King Lear banishes his daughter Cordelia because she doesn’t express her love for Lear the way he wants her to and he also banishes Kent for standing up for Cordelia in saying that she truly loves Lear the most. Gloucester banishes his son Edgar because he is manipulated by his illegitimate son Edmund into thinking that Edgar is trying to murder him so that he can take his throne. In the beginning, I feel as if King Lear is insecure and has poor judgment while Gloucester is easily influenced and very naive.
I know you do not love me; for your sisters Have (as I do remember) done me wrong. You have some cause, they have not. Cordelia: No cause, no cause." In Shakespeare's King Lear the character Cordelia is disowned and denied dowry because she is unable to bring herself to flatter her father. This honesty is taken as insult by Lear in the opening act of the play, and he renounces the princess in a fit of rage.
The poor decision to banish the daughter that adores him most and give the kingdom to his disloyal daughters made him lose everything. As a result, at the end of the play, Lear is left regretting his handling of the situation with Cordelia. “This feather stirs. She lives. If it be so, / It is a chance which does redeem all sorrows / That ever I have felt” (5.3 319-321). | https://www.123helpme.com/essay/Blindness-in-William-Shakespeares-King-Lear-313748 |
Kent and Gloucester are in King Lear's court, discussing Lear's plan to give up his power and divide it among his daughters. Gloucester introduces Kent to his illegitimate son, Edmund, who is standing nearby. Gloucester says that, although Edmund is a "knave" (1.1.21) born out of wedlock, Gloucester loves him no less than the other "son" he has "by order of law" (1.1.19) (i.e., Edgar).
Gloucester's words to Kent show that he values his bond with his illegitimate son, despite the fact that a "natural" (i.e. biological) rather than a social or legal order connects them. This conversation looks ahead to the dismembering of the British kingdom by Lear.
Lear enters with Albany, Cornwall, Goneril, Regan, Cordelia, and their attendants. Having sent Gloucester to fetch Cordelia's suitors, the lords of France and Burgundy, Lear announces that he has divided his kingdom into three parts. He intends to "shake all cares and business from his age,/ Conferring them on younger strengths" so that he can "unburdened crawl toward death" (1.1.41-2).
Ironically, Lear's authority as king, as the head of a political order, enables him to make the decision that will produce grave disorder. By using the word "crawl" to describe his progress toward death, Lear describes the aging human without his former authority as an animal.
Next, Lear calls upon each of his daughters to state how much she loves him. First, Goneril insists that she loves her father "dearer than eyesight, space, and liberty" (1.1.61); Lear awards her one third of his kingdom, accordingly. Then, Regan claims that she loves her father even more than Goneril does; she is an "enemy to all other joys" but his "dear Highness' love" (1.1.80-4). Lear grants her a third, in turn.
The ceremony Lear has devised to make himself feel good also reinforces the plays theme of the connections between the "public" authority of Lear as a king and his "private" authority over his daughters as a father.
Literary Devices
While her sisters speak, Cordelia grows nervous, knowing that she would prefer to "love, and be silent" (1.1.68) than to make such a public declaration of her love for her father. And, indeed, when her turn comes to speak, Cordelia can answer only "Nothing, my lord" (1.1.96). Lear presses her to give another answer, but she insists that she loves him "according to [her] bond, no more, no less" (1.1.102).
Refusing to go along with Lear's political theater, Cordelia stresses the importance of her inward bond. Her answer, "nothing," will echo throughout the play. Here it anticipates the way in which the dismembering of the kingdom will lead to ruin, chaos, and annihilation.
Literary Devices
Enraged by this refusal to play along, and vowing by "all the operation of the orbs" (1.1.124), Lear renounces his "paternal care" of Cordelia forever (1.1.127). When Kent attempts to intercede on Cordelia's behalf, Lear reiterates: "here I give/ her father's heart from her" (1.1.141-2). He states that he will from now on alternate months living with his two other daughters, keeping only 100 knights on reserve to be his followers. When Kent continues to counsel him against such a rash decision, Lear banishes him on pain of death: "out of my sight!" (1.1.179). Having consoled Cordelia, and exhorted Goneril and Regan to live up to their declarations of love, Kent departs.
Lear invokes the heavens as a symbol of order and justice for the first of many times throughout the play. Kent, meanwhile, shows a personal devotion to Lear that is so strong that he is willing to step outside of the usual political order (i.e., the rules of the court) in order to try to protext his king. More insightful than Lear, Kent knows that dividing the kingdom is a bad idea; he also sees Goneril and Regan for the opportunists they are.
Literary Devices
Gloucester returns with France and Burgundy. Lear addresses Burgundy first, telling him that Cordelia has been disowned. Cordelia interrupts, begging her father to explain that she has not done anything wrong: her only sin is to lack a "still-soliciting eye and such a tongue" (1.1.266) as her sisters. Burgundy asks, won't Lear give the dowry he proposed? Lear replies that he will give "nothing" (1.1.283). Then, Burgundy apologizes, he cannot marry Cordelia. France, however, says that the neglect of the gods has only increased his love: he pronounces Cordelia his wife and queen. Lear accepts and exits with his attendants.
Cordelia then takes leave of Goneril and Regan, saying she knows their faults, but hopes that they will live up to the love they have declared. Cordelia and France leave. Left alone, Goneril observes that Lear's old age is "full of changes" (334) and that he showed "poor judgment" (337) casting off Cordelia. Regan agrees the "infirmity of his age" (339) is to blame for his error. Goneril says that in these "infirm and choleric years" (345) they cannot permit their father to exercise any real authority.
Cruelly criticizing their father's senility, the sisters show their true colors for the first time, foreshadowing all the abuses that they will soon wreak on him due to his age. Like Kent, they also describe what Lear has done as an error. But they, unlike Kent, plan to take advantage of it, and show more interest in power than in the love they owe their father simply because he is their father. | https://www.litcharts.com/lit/king-lear/act-1-scene-1 |
Like Shakespeare’s other famous tragedies, King Lear features a noble-born protagonist who makes a fatal mistake that leads to widespread suffering and, eventually, the death of himself and several others. Lear makes his fatal mistake in the play’s opening scene, when he divides his kingdom among his daughters according to the degree of love they profess for him. Failing to see that Regan and Goneril have lied about their love, he bequeaths all his land to them and condemns Cordelia, the only daughter who truly loves him. Lear therefore remains blind to who his daughters really are, and this metaphorical blindness results in him making a decision that causes enormous suffering—including the literal blinding of Gloucester. Notably, just as Lear fails to see who his daughters are, over the course of the play he loses touch with his own identity. He cries out painfully in Act I, “Does any here know me? This is not Lear . . . . Who is it that can tell me who I am?” (I.iv.197–201). Blind even to himself, Lear slowly goes mad and falls into psychological isolation.
One aspect of King Lear that makes it an unusual tragedy is that Lear, though certainly a tragic figure, is a relatively benign protagonist who realizes his mistakes and repents for them. To be sure, Lear often speaks in an abrasive and caustic way, displaying arrogance and peremptoriness toward other characters (notably Kent and Cordelia). But unlike some tragic protagonists he himself never becomes evil or directly commits any evil acts, even if he unleashes evil in the form of his daughters. Ironically, Lear’s madness is what enables him, at last, to overcome his blindness and see things clearly. His first moment of clarity arises in Act III, at the height of the storm. Lear hesitates before entering the hovel and expresses empathy for his subjects, whom he’s literally and figuratively left out in the cold:
Poor naked wretches, whereso’er you are,
That bide the pelting of this pitiless storm,
How shall your houseless heads and unfed sides,
Your looped and windowed raggedness, defend you
From seasons such as these? Oh, I have ta’en
Too little care of this! (III.iv.28–33)
Lear regains clarity at other crucial moments as well, like when he recognizes Cordelia at the end of Act IV and acknowledges that he has wronged her. He repents for his failure and hopes, as he tells Cordelia in Act V, for a chance to “ask of thee forgiveness” (V.iii.11).
Despite Lear’s moments of clarity, the play moves inescapably toward a tragic conclusion that, unlike other tragedies, does not feel very cathartic. Catharsis is the moment of release an audience feels after experiencing strong emotions. King Lear certainly engages the audience’s emotions, but whereas cathartic experiences lead to a feeling of renewal, Shakespeare’s play does not. For one thing, punishment in the play often outweighs the crime. Even though Regan, Goneril, and Edmund all deserve their fates, Lear, Gloucester, and Cordelia all die despite their innocence. Moreover, no one learns valuable lessons through their suffering. Lear realizes his mistakes as a king and as a father, and his brief reunion with Cordelia offers a partial redemption. Yet the pain of Cordelia’s undeserved death sends him back into madness and suffering, and he literally dies of a broken heart. Finally, with everyone from Lear’s family dead, there is no good candidate to assume the throne. Albany will continue to rule Britain, but his role in the play’s disastrous ending leads the audience to question whether the social order can really be repaired. By leaving the audience profoundly sad and virtually hopeless, King Lear ranks among Shakespeare’s bleakest tragedies. | http://origin-www.sparknotes.com/shakespeare/lear/genre/ |
Relationships are an important aspect in people’s lives, and there are various types of them. Some relationships are built on long standing mutual trust while others could only exist due to circumstance. While they are part of the foundation of social interactions, relationships also can be fickle. In William Shakespeare’s play, King Lear, we see how relationships can quickly change based on the actions of an individual and how such actions cause major consequences for other people. There are two major cases in the play in which relationships quickly change and the social standing of characters become swapped. The first major case is when King Lear divides his kingdom into several parts, and the second is when Edmond abuses the trust of his father and brother in order to gain more power.
The first example we have of this occurs near the very beginning of the play. In Act I, scene I, we have King Lear and his three daughters. King Lear decides that he has become too old to rule as king, and as such, gives away his land to the younger generation. However, the method he decides on for splitting up his kingdom is perhaps not the same as other kings; instead of choosing based on social status or even competency, King Lear decides that, out of his three daughters, she who can compliment him the best will receive the most. An important distinction to make is how each character reacts to this decision. The older daughters, Goneril and Reagan, secure their inheritance by showering their father in compliments and saying that they love nothing more than their father. The youngest daughter, Cordelia, goes in the opposite direction. She states that, while she loves her father for raising her and taking care of her, she cannot love him more than a child can love their father. Another important note to make here is that Cordelia does not actively choose to be different from her two sisters, instead we see she acts differently because she is unable to form the words in the same way her sisters can. We can see this from the multitude of asides from Cordelia during this scene such as, “What shall Cordelia speak? Love, and be silent.” In this way, Cordelia is no different from her sisters, she wishes to make her father happy, however she completely lacks the ability to do so. And yet, for this small flaw, she pays a heavy price and becomes disowned by her father. Although she ends up marrying the prince of France, Cordelia is still banished from her home and left with no inheritance. This example is noteworthy because of King Lear’s decision to forsake Cordelia, it shows how a person can virtually do no wrong and still be punished.
Following this same theme, we have the Gloucester family. Edmond was born out of the passion of his mother and a random stranger who most certainly was not her husband. Despite this, Gloucester Senior decides he would raise the child as his own. Unfortunately for him, this child would ultimately lead to both he and his true son’s misfortune. We receive some information about how Edmond is treated prior to events within the play, which comes from his monologue in Act I, scene ii, where Edmond proclaims that he does not follow the laws of man, but rather the laws of nature. He also denounces his title of bastard by stating, “who in the lusty stealth of nature take more composition and fierce quality than doth within a dull, stale, tired bed…” Essentially, Edmond believes he possess advantages over his legitimate brother, Edgar, such as, being stronger, smarter, and conceived through passion. It is through these feelings that Edmond begins to organize his plan in which he ultimately betrays his family by turning them against each other. Edmond’s ultimate goal is to climb the social ranks and become recognized by royalty as someone with considerable wealth and power. He ultimately achieves this goal by becoming the general of Goneril and Reagan’s military forces. The choices made by Edmond effectively destroyed his family. Gloucester Senior was overly trusting of his adopted son and immediately believed that it was Edgar, not Edmond, who is seeking the family fortune. This started a chain of events where Gloucester Senior loses both his eyes and Edgar is forced to take both the appearance and mannerisms of a crazy peasant. Much like with Cordelia, these two members of the Gloucester family had their lives ruined through little fault of their own. | https://morrison.sunygeneseoenglish.org/2020/02/17/unjust-affairs-expulsion-in-king-lear/ |
Are Lear and Cordelia ... ﻣﻴﻼدﻳﺔ٢٠١٢ – ﻫﺠﺮﻳﺔ١٤٣٣ ( ﻟﺴﻨﺔ٢٠٣) اﻟﻌﺪد-اﻷﺳﺘﺎذ Tragic Hero and Heroine in William Shakespeare's King Lear? Are Lear and Cordelia Tragic Hero and Heroine in William Shakespeare's King Lear? By Prof. Dr. Abdul Sattar Awad Ibrahim Department of English College of Education (Ibn Rushd) University of Baghdad It has been made obvious that Lear is an aged man and a fool with personaldefects and weaknesses all throughout the play. Had he been wise enough all thecharacters involved in the action would not have confronted their tragic ends. Itis true that Lear has failed to deal with the situation in which he has not beenhumoured by his dearest daughter, and consequently his pride and arrogancehave been injured especially in the presence of his entourage. He could havetreated the situation in a way other than the one he did, but he did not. That hebehaved with Cordelia and his other two daughters in the way he did has beenthe outcome of what his personality has imposed upon him. It is also true thatCordelia shares her father the defects that lead them to their tragic death.Cordelia's refusal to humour Lear and to satisfy his appetite for flatterycontributes to their tragedy. Instead, Codelia's refusal has ignited the fire ofwrath within the heart of Lear. She could have extinguished that fire andcomforted him with some sweet words of adulation. It must be noted, therefore,that not only is Lear responsible for the catastrophe, but also Cordelia who hasalready and unwittingly agitated her father's emotions and caused him to depriveher of inheritance and to decide what determines their inevitable end. Herrefusal to humour her father in the court may be considered a crime according tothe standards of royalty which are related to paying respect and homage toauthority. Not to obey the wish of royalty in certain situations brings about angerand subsequent decisions on the part of the sovereign who will inevitablyconsider it an abuse. Marilyn French comments on this viewpoint saying that Cordelia 's crime in the court is that she is not swayed by the desire for power and possession into falsifying her feelings: She does not feed Lear's delusion of control. Nor does Kent. Both are therefore deprived of power and possession, the real goods of their society, as the fool continually reminds Lear. But the Fool, in despair, ١٣ Are Lear and Cordelia ... ﻣﻴﻼدﻳﺔ٢٠١٢ – ﻫﺠﺮﻳﺔ١٤٣٣ ( ﻟﺴﻨﺔ٢٠٣) اﻟﻌﺪد-اﻷﺳﺘﺎذ Tragic Hero and Heroine in William Shakespeare's King Lear? Kent, with firm confidence, and Cordelia, sorrowfully, hold to another good, another truth. 1 As a typical character, Cordelia is an innocent girl who loves her fathermost as any other innocent girl in the world. Her individuality is accounted forby her inability to utter words of praise for her father in the presence of his royalfollowers, and thus she contributes to her tragic end. Although her father badlytreats her the latter receives infinite love and generosity from her, for Lear's\"pride is not just humbled, it is reduced from supreme autocratic power to utterpenury and insanity; his quarrel with Cordelia is resolved in abject contritionfrom him and unlimited charity from her,\" 2 as pointed out by Nicholas Brooke. Despite the fact that the first scene of the play presents the ritual duringwhich Lear divides his kingdom among his daughters the scene displaysridiculous practices on the part of Lear, the scene is considered then the springboard from which all the significant events and situations are to follow; it ischildish that a king like Lear, formidable as he is, sells his kingdom at the priceof words, just words and nothing else. In this respect Brooke believes that thescene is to draw our attention to subsequent events and not to the silly eventcontained in it—the division of the kingdom. The scene, he believes, directs our attention forwards into what follows, not backwards into quaint speculation as to why Lear prepares a division of his kingdom into three equal parts, and then holds a competition to decide who gets the largest. Of course that is silly, regarded as dramatic action; but it is not dramatic in that sense, it is a ritual of the royal prerogative. And as a ritual, it is no sillier than most—for instance the official 'Opening' of a building that has been in full use for months or years. 3 Lear, on the other hand, has suffered much from horror and anguish as soonas he begins to learn that the powers of evil have been working against him. Hisdecision to divide the kingdom between his two wicked daughters, Goneril andRegan, turns things upside down, for he begins to realize that his two daughterswith whom he decides to live alternately begin to gradually neglect him. He isthen left helpless and submissive to those whom he has already nourished. Thissituation is reminiscent of animal behaviour that is usually found in the jungle.Alfred Harbage calls this situation as the \"infiltration of animality in the humanworld, naked cruelty and appetite.\" 4 Only occasionally does Lear express hisremorse for his inability to muster what he has already lost—his kingdom, ١٤ Are Lear and Cordelia ... ﻣﻴﻼدﻳﺔ٢٠١٢ – ﻫﺠﺮﻳﺔ١٤٣٣ ( ﻟﺴﻨﺔ٢٠٣) اﻟﻌﺪد-اﻷﺳﺘﺎذ Tragic Hero and Heroine in William Shakespeare's King Lear?sovereignty, and children. He and Cordelia have been taken as prisoners at theend of the play. Their union and subsequent developments that account forCordelia's murder at the commands of Edmund, and Lear's ignorance of herdeath are meant to widen the tragedy of both of them: LEAR. We two alone will sing like birds i' the case. When thou dost ask me blessing. I'll kneel down And ask of thee forgiveness. So we'll live, And pray, and sing, and tell old tales, and laugh At gilded butterflies. 5 (V. iii. 9-13)Harbage concludes that the play ends as it begins in an allegorical grouping, commemorating humanity's long agonized, and continuing struggle to be human. The larger meaning gives our tears the dignity of an act of ratification and gratitude: to these still figures we have pitied we owe the gift of feeling pity.6 Lear's defective behaviour towards his most favourite daughter can beinterpreted in terms of his lack of self-control and his passion of wrath whichpushes him to take rash and hasty decisions, for the matter is already decided. Lear learns back to enjoy the culmination of the performance he has staged. But the words do not come, and he immediately casts her off. And to his fault of vanity is joined the fault of rashness. When his pride receives an affront he reacts intemperarily. 7So, Lear's passions of wrath and rashness react and work instead of his reason. An idea to illustrate the contrastive elements in the play lies in the fact thatLear at the beginning of the play is not Lear at its end. Foolery has beenconverted into wisdom throughout suffering. Thus, the play postulates the issueof education as an essential theme. George Ian Duthie points out that the playdeals with \"conversion, spiritual regeneration, [and] the attainment of salvation,\"8 as major themes in the play. To use John Dover Wilson's words, Lear dies ١٥ Are Lear and Cordelia ... ﻣﻴﻼدﻳﺔ٢٠١٢ – ﻫﺠﺮﻳﺔ١٤٣٣ ( ﻟﺴﻨﺔ٢٠٣) اﻟﻌﺪد-اﻷﺳﺘﺎذ Tragic Hero and Heroine in William Shakespeare's King Lear?redeemed and not disobedient: \"The Lear that dies is not a Lear defiant, but aLear redeemed. His education is complete, his regeneration accomplished.\"9Because of his folly and spiritual blindness, Lear rejects Cordelia. But he thenkneels to her as soon as he gets spiritual insight and wisdom. The entire play isbuilt up by means of contrast, the most powerful of all structural devices.Contrast pervades almost every minute detail in the play. An example ofcontrast shows a great gap between an old king with strong physique andformidable personality on the one hand, and his foolish attitudes and decisionson the other. The most foolish yet devastating decision made by Lear is hisdemand to be titular King retaining his title as king and prerogative rights andgiving up the act of ruling. He decides that his kingdom should be ruled by hisdaughters with the help of their husbands with a view to supervising them astitular King, unaware of the fact that what he has done is just to destroy him andhis children. The age itself in which this play was written and presented on thestage was one of contrast in almost everything. This is the reason why E. A. G.Lamborn and G. B. Harrison say the following: 'It was the age of wisdom, it was the age of foolishness.' Men who had read Lucretius still believed stoutly in witchcraft; Men who knew Socrates as a friend could none the less approve torture, burning, mutilation; men who had learned to smile at the old astronomy believed firmly that the fate of men could be read in the stars that rose on their birth. 10 Obviously, in the first scene, Lear seems to hold a public sale at which notgoods but emotions of love are to be sold and shown towards him, and the bestterritory of his kingdom will be given to the daughter who loves him best of thethree. As indicated in the narrative, before the play begins, Lear divides thekingdom among his three daughters in such a way that Regan and Goneril willhave equal portions and Cordelia will have a portion larger than theirs. This ismade in this way because he has been quite confident that her love for him isgreater than the other two daughters'. But the great gap between what he expectsand what Cordelia utters concerning her love for him precipitates a great andhorrible shock to him. Having received the adulation of both Goneril and Regan,he turns to Cordelia who he thinks will excel or do something better than whather sisters have already made: ١٦ Are Lear and Cordelia ... ﻣﻴﻼدﻳﺔ٢٠١٢ – ﻫﺠﺮﻳﺔ١٤٣٣ ( ﻟﺴﻨﺔ٢٠٣) اﻟﻌﺪد-اﻷﺳﺘﺎذ Tragic Hero and Heroine in William Shakespeare's King Lear? Cordelia. [aside] Then poor Cordelia! And yet not so, since I am sure my love's More ponderous than my tongue. Lear. To thee and thine hereditary ever Remain this ample third of our fair kingdom, No less in space, validity and pleasure Than that conferred on Goneril. Now our joy, Although the last, not least, to whose love The vines of France and milk of Burgundy Strive to be interessed, what can you say to draw A third more opulent than your sisters? Speak. Cordelia. Nothing my lord. (I. i. 78-91)This shows that Cordelia should not be exempted from the blame laid upon herfather's fault. His mischievous behaviour is prompted by her misuse of wordswhich he considers a deliberate show of disrespect. She does not learn how tocomfort and humour her father. Being the youngest offspring of her father, sheis not mature enough to learn one fact about her father's love for flattery who incertain moments of weakness likes to be praised excessively. In this respect,Duthie points out that there Are critics who feel disposed to blame her somewhat in the first scene. Surely they think she is a little too blunt—surely her affection for her father might have led her to pardon his error, and to humour him a little. 11Cordelia does not learn how to comfort her father, for she could have easilycomposed and produced words which could have reflected her true love for him.Her fault is that she fails to utter truthful yet genuine words to express her loveand gratitude towards her father. Therefore, it may be concluded that all threedaughters exhibit faulty behaviour towards their father. Goneril and Regan showhypocritical words; Cordelia, high pride. Coleridge says that there \"is somethingof disgust at the ruthless hypocrisy of her sisters, and some little of faultyadmixture of pride and sullenness in Codelia's 'Nothing'.\"12 Cordelia's word\"Nothing\" may be ironically employed, for, it may describe Lear's personality inmoments of weakness as being nothing. As a matter of fact, he really hasbecome nothing as he does not possess a rational and orthodox mind to dependupon, and at the same time he does not depend upon the minds of others. This iswell expressed when he dismisses Kent from his presence as the latter tries to ١٧ Are Lear and Cordelia ... ﻣﻴﻼدﻳﺔ٢٠١٢ – ﻫﺠﺮﻳﺔ١٤٣٣ ( ﻟﺴﻨﺔ٢٠٣) اﻟﻌﺪد-اﻷﺳﺘﺎذ Tragic Hero and Heroine in William Shakespeare's King Lear?amend the wrong judgment he has already committed. Lear, therefore hasbecome nothing out of which comes nothing as soon as he has abdicated thethrone—an idea in which he strongly believes and which he always utters.Perhaps ironically, the dramatist allows him to repeat it many times, for itaccounts for the entire catastrophe of the characters concerned. Lear offers thethrone to those people who will soon become his enemies and treat him as if hewere of no significance at all. This indicates that Lear neither has a mindwhereby he can produce sound and correct decisions that will preserve hisdignity nor does he depend on the sound judgments of his entourage, andtherefore, such a person as Lear appears to be soundly described as beingnothing. Furthermore, Lear's behaviour in the way he does draws him to a stateof nothingness that is fully shown in the situation in which he appears to benaked on the heath. Thus, the loss of mind is best suited to his personality in thatparticular moment, for his decision to leave the throne is to point to his loss ofmind, property, power, and above all the entire lives of the royal family. Hence,he has become helpless, submissive and void of any power. Lear, consequently,has lost everything and his loss culminates into nothing: There is a devastating irony in the word \"nothing.\" Cordelia at the critical moment can only utter \"Nothing\" and Lear replies \"Nothing will come of nothing.\" He is wrong—from this one word \"nothing\" begins the whole devastating tragedy. 13 Cordelia, on the other hand might have learned what to say to her father butshe did not. She is not like her sisters who have displayed bright and brazenspeech whereby they can buy the kingdom. She has been asked to bid higherthan her sisters and is expected to respond to her father's demand. To hisdisappointment, Cordelia cannot do anything against her will and principles. Shemay not be satisfied that she can buy a kingdom at the very cheapest price—justwords of adulation. However, Cordelia does not realize that she definitely putsher father in a critical yet shameful situation. Perhaps, she rejects the styleemployed by her father when dividing the kingdom, which may be identicalwith the mechanism usually used in an auction. She very well knows that she isvery kind to her father and that her kindness towards him exceeds her sisters',despite the fact that he has severely wronged her. At the same time, she verywell knows that he will receive evil practices from those whom he has alreadyfavoured. Consequently, it has been made obvious then that all sisters know thattheir father despises truthfulness and favours falsehood, and above all, Cordeliaguesses that the foolish practice made by Lear is made only to destroy him: ١٨ Are Lear and Cordelia ... ﻣﻴﻼدﻳﺔ٢٠١٢ – ﻫﺠﺮﻳﺔ١٤٣٣ ( ﻟﺴﻨﺔ٢٠٣) اﻟﻌﺪد-اﻷﺳﺘﺎذ Tragic Hero and Heroine in William Shakespeare's King Lear? Cordelia knows that Lear is rejecting the true and accepting the false. She also knows, or at least clearly suspects, that what he is doing in all propability turn out to his disadvantage as regards his own worldly prosperity and physical welfare. To her sistersa she says, 'I know you what you are' (I. i. 272). 14 Thus, Coredelia knows beforehand that her father will be badly treated byher sisters and their husbands: \"Use well our father,\" she asks them, \"To yourprofess'd bosoms I commit him\" (I. i. 274-275). It is worth mentioning that Shakespeare intends to present the protagonistand his family within a social context and within the circle of daily socialactivities, namely marriage and the subsequent circumstances and outcomes. Anatmosphere of social dealings is created, so that the conflict Is no longer apprehended as a conflict between the individual and society; the conflict is now within society itself. Disorder in the human soul is both the agent and the product of disorder in society. Social order is the condition, as it is the resultant, of sweet and affirmative being, without which man relapses into a beastly and self-destructive individualism. 15 The play displays two contrastive settings, one is the polite and civilizedtowns, villages, and castles; the other is the realm of savagery and brutishness ofbeasts and naked madmen. Lear, Edgar (the disguised beggar) and the blindGloucester have undergone beastly life on the heath. Social ills in society are theoutcome of the ills within individuals. Evil breeds evil. The bastardy of Edmund\"has such results that we see a 'fault,' where a woman has 'a son for her cradleere she [has] a husband for her bed.\" 16 Bastardy in most societies is undesirablefor its illegality and its subsequent evil results. Illegal relationships are not onlyrejected by social institutions but also by revealed religions. Edmund's evildeeds against his father, brother, King Lear, and Cordelia, though fictitious, areto point to the outcome of such an illegal sexual discourse which impregnatedEdmund's mother. The question which arises here is who would inheritGloucester's title and estates. This question upsets Edmund's mind and causeshim to attempt to destroy his father and his half-brother Edgar. He hasconvinced his father that Edgar is plotting against him and at the same time he ١٩ Are Lear and Cordelia ... ﻣﻴﻼدﻳﺔ٢٠١٢ – ﻫﺠﺮﻳﺔ١٤٣٣ ( ﻟﺴﻨﺔ٢٠٣) اﻟﻌﺪد-اﻷﺳﺘﺎذ Tragic Hero and Heroine in William Shakespeare's King Lear?has convinced Edgar that he should hide himself in order to avoid thepunishment of his father—an act which enables him to get rid of his brother andat the same time secures his inheritance of all things from Gloucester whobelieves everything Edmund tells him and arranges for the abdication ofeverything to him. As a result, social order especially legal relationships amongmen and women are necessary and should be ultimate for saving discipline: There is nothing in the play that to cast suspicion upon the rightness of external order—there is much in the play to make us feel that without it we are lost, to affirm that not discipline, but indiscipline destroys. But there is also much to support the view that even discipline will destroy where it is not involved in self-discipline and in love. 17Shakespeare seems to say that self-centredness, personal interests, and narcismare destructive powers to the country because they stand in opposition to thosevalues which control, determine, and fix order in the entire country. Order isspoiled when evil characters intervene for their personal aspirations; each has avision peculiar to himself or herself which reflects nothing but their ownpersonal demands. Personal relationships seem to be governed by thosedemands, and King Lear exhibits personal relationships which are of highersignificance than any other Shakespearean tragedy. To Sewell, personalrelationships is dealt with in King Lear as \"an end and not as a means,\" 18 forcharacter is determined by personal relationships and not the latter aredetermined by character. On the contrary, Hamlet's personal relationship withhis uncle, mother, and Ophelia, has been determined by the nature of his owncharacter which has led him to his future actions. In King Lear, \"in a largemeasure, the nature of the character is revealed in personal relationship.\"19Therefore, as Hamlet's personal relationship can be separated from the nature ofhis character, personal relationships and character in King Lear are inseparable:\"Personal relationships are the field of character-fulfilment,\" 20 as pointed out bySewell. Loyalty and personal love are treated as major themes at the beginning ofthe play. They are the spring-board from which the other characters jump intothe area of conflict and action. Lear demands that his three daughters shallexpress their personal love and loyalty in words towards him. The elder onesmanage to satisfy his appetite for praise, whereas the third one fails. When thequestion of marriage is revealed, Burgandy declares that personal relationship ٢٠ Are Lear and Cordelia ... ﻣﻴﻼدﻳﺔ٢٠١٢ – ﻫﺠﺮﻳﺔ١٤٣٣ ( ﻟﺴﻨﺔ٢٠٣) اﻟﻌﺪد-اﻷﺳﺘﺎذ Tragic Hero and Heroine in William Shakespeare's King Lear?should be something of benefit; the King of France, of value; Kent, of loyalty;Goneril and Regan, of self-interests. Both Goneril and Regan are on good termswhen their interests meet and at war when their interests are threatened. Theepitome of the moral examplum to be obtained from Shakespeare's exposure ofpersonal relationships on a large scale is to elaborate the themes of loyalty andlove; real love turns into something else when material gains intervene into it.Thus, the King of France says: ………Love is not loveWhen it mingles with regards that standAloof from the entire point. (I. i. 141-143)Adherence to the bond of love and loyalty is found in many characters—the oldman who leads the blinded Gloucester to his son Edgar; Cordelia who tries torestore her father to the throne; and Kent who does more than the requirementsof his commitments. It is indicated that good and evil are mingled with sensibleand practical conduct:There is indeed throughout the play a deep senseof the evil; and Shakespeare makes it clear that theadmixture of good with evil, of evil with \"reason,\"is both proof and product of the fact that, morally,we are members of each other. 21It has been made clear that Lear may have been redeemed from his sins throughsuffering and pain. He realizes how much wrong he has been when badlytreating Cordelia, and when dividing the kingdom between his two elderdaughters, and when he has distanced himself from any power that might havesaved both the throne and himself from being injured and destroyed by them.Redemption can only be obtained by means of good conduct and gracious andrightful behaviour:Only through grace, perhaps, if at all, can manfind blessedness; and Shakespearian tragedy istragedy simply because in it Fallen Man seeks tofind rehabilitation in \"infiniteness\"—but without grace.The tragedy is in the failure, perhaps the failure isgeneral to the case of Man. 22٢١ Are Lear and Cordelia ... ﻣﻴﻼدﻳﺔ٢٠١٢ – ﻫﺠﺮﻳﺔ١٤٣٣ ( ﻟﺴﻨﺔ٢٠٣) اﻟﻌﺪد-اﻷﺳﺘﺎذ Tragic Hero and Heroine in William Shakespeare's King Lear? From the start, Lear, as father, character, and King does not show any signto attract the admiration, identification, and sympathy of the audience. Thus, hisfall from good fortune to bad one cannot be placed within the domain of the fallof the tragic hero, whose end evokes pity and fear in spectators for the goodinherent in his nature and the human weakness that is to befall him. LikeShakespeare's King Richard II, from the beginning of the play throughout, Leardoes not show anything but all signs to indicate his wrongs as father and Kingsimultaneously. Consequently, he cannot be called a tragic hero in the actualsense of the word. Jan Kott presents a significant remark in this regard: Nearly all Shakespeare's expositions have an amazing speed and directness in the way conflicts are shown and put into action, and the whole tone of the play is set. The exposition of King Lear seems to be preposterous if one is to look in it for psychological verisimilitude. A great and powerful king holds a competition of rhetoric among his daughters as to which one of them is best to express her love for him, and makes the division of his kingdom depend on its outcome. He does not see or understand anything: Regan's and Goneril's hypocrisy is all too evident. Regarded as a person, a character, Lear is ridiculous, naïve and stupid. When he goes mad, he can only arouse compassion, never pity and terror. 23As a conclusion, Lear and Cordelia cannot be regarded as tragic hero andheroine. Spectators do not sympathize with Lear for he, from the start, does notexhibit any sort of behaviour that may make the audience love or at least admirehis character; nothing in him can be plausible; from the beginning, he satiatesthe audience by his foolishness which creates in them a sense of disgust anddisappointment that comes from a king responsible for the freedom and welfareof his nation. Concerning Cordelia, she appears two times in the play and onlyfor a very short period of time. The spectators may sympathize with her for theinnocence and the sort of kindness she has exhibited towards her father, but notfor the kind of mistake which she has committed against her father—not tohumour and satisfy his wish for praise and take her part of the divisions and thendirect the course of the events to the kind of setting which does not cause anyharm to both the kingdom and her family as a whole. She does not deserve herlot. She did all that she could do in the situation in which the dramatist hasplaced her. ٢٢ Are Lear and Cordelia ... ﻣﻴﻼدﻳﺔ٢٠١٢ – ﻫﺠﺮﻳﺔ١٤٣٣ ( ﻟﺴﻨﺔ٢٠٣) اﻟﻌﺪد-اﻷﺳﺘﺎذ Tragic Hero and Heroine in William Shakespeare's King Lear? Notes 1. Marilyn French, Shakespeare's Division of Experience (New York: BallantineBooks, 1983), 231. 2.Nicholas Brooke, Shakespeare: King Lear, gen. ed. David Daiches (Woodbury,New York: Barron's Educational Series, Inc., 1963), 9. 3. Ibid., 18-19. 4. Alfred Harbage, ed., \"Introduction\" to William Shakespeare: the Tragedies, ACollection of Critical Essays, 128. 5.William Shakespeare, King Lear, in Shakespeare: The Complete Works, ed. G. B.Harrison (New York: Harcourt Brace Jovanovich Inc., 1968). All subsequent textualquotations are taken from this source. 6.Ibid., 122. 7.Samuel Taylor Coleridge, as quoted in George Ian Duthie, ed., \"Introduction,\" toWilliam Shakespeare: King Lear, The New Shakespeare Series (Cambridge: CambridgeUniversity Press, 1981), xvi. 8. George Ian Duthie, xx. 9. John Dover Wilson, as quoted in Duthie, xx. 10. E. A. G. Lamborn and G. B. Harrison, Shakespeare: The Man and his Stage(London: Oxford University Press, n.d.), 67. 11.Duthie, xxiii. 12. Coleridge, in Duthie, xxiii. 13. G. B. Harrison, Shakespeare's Tragedy (London: Routledge and Kegan PaulLtd., 1966), 158. 14. Duthie, xxvi. 15. Alfred Sewell, \"Character and Society in King Lear,\" in Harbage, 139. 16. Ibid., 140. 17. Ibid., 140. 18. Ibid. 19. Ibid. 20. Ibid., 141. 21. Ibid., 142. 22. Ibid., 146. 23. Jan Kott, Shakespeare: Our Contemorary, trans. Boleslaw Taborski (London:Methuen & Co., Ltd., 1975), 102. ٢٣ Are Lear and Cordelia ... ﻣﻴﻼدﻳﺔ٢٠١٢ – ﻫﺠﺮﻳﺔ١٤٣٣ ( ﻟﺴﻨﺔ٢٠٣) اﻟﻌﺪد-اﻷﺳﺘﺎذ Tragic Hero and Heroine in William Shakespeare's King Lear? BibliographyBrooke, Nicholas. Shakespeare: King Lear, gen. ed. David Daiches (Woodbury, New York: Barron's Educational Series, Inc., 1963.Coleridge, Samuel Taylor. In \"Introduction,\" to William Shakespeare:King Lear, The New Shakespeare Series. Edited by George Ian Duthie. Cambridge: Cambridge University Press, 1981.French, Marilyn. Shakespeare's Division of Experience. New York: Ballantine Books, 1983), 231.Harbage, Alfred, ed., \"Introduction\" to William Shakespeare: the Tragedies, A Collection of Critical Essays, 128.Harrison, G. B. Shakespeare's Tragedy. London: Routledge and Kegan Paul Ltd., 1966.Kott, Jan. Shakespeare: Our Contemorary. Translated by Boleslaw Taborski. London: Methuen & Co., Ltd., 1975.Lamborn, E. A. G., and G. B. Harrison, Shakespeare: The Man and his Stage. London: Oxford University Press, n.d.Shakespeare, William. King Lear. In Shakespeare: The Complete Works. Edited by G. B. Harrison. New York: Harcourt Brace Jovanovich Inc., 1968. ٢٤
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King Lear is a tragic play by William Shakespeare. The play tells the story of King Lear, who decides to divide his kingdom among his three daughters. However, when two of his daughters refuse to flatter him, he banishes them from the kingdom. This leads to a series of events that result in tragedy for all involved. King Lear is considered one of Shakespeare’s greatest works, and it is still performed and studied today.
It’s about the misery of two families caught up in a power struggle, greed, lust, and cruelty that will eventually lead to terrible amounts of suffering and devastation for everyone involved. In King Lear, there is a circular connection between characters’ actions and their natures. Human behavior breaking natural laws leads to the destruction of the two families, while disturbances in nature are caused by human behavior altering accepted laws of nature.
The King Lear tragedy is a story that has been told many times, in many different ways. But what makes this particular version by William Shakespeare so special and unique is the way in which he weaves the tale of King Lear’s descent into madness with the political and social upheaval of his time.
King Lear is not only a tragic story about an old man who goes mad and loses everything, it is also a reflection on the state of England during Shakespeare’s lifetime. In addition to being one of Shakespeare’s most popular plays, King Lear is also considered to be one of his greatest works. It is a timeless story that is still relevant today.
In King Lear, Shakespeare emphasizes the damage Lear and Edmund cause when they violate natural laws and, of course, nature herself in the form of the storm. Nature is first introduced by Cordelia at the play’s outset. When Lear asks Cordelia to tell him how much she loves him, she responds: “according to my bond.”
This reply confuses and frustrates Lear because he was expecting his daughter to profess her undying love for him. However, what Cordelia is saying is that she loves her father “according to” or in accordance with the natural order of things, which is filial piety. In other words, she loves her father as a daughter should love her father. This concept of nature will be revisited several times throughout King Lear.
The first time we see nature disrupted is when Lear decides to divide his kingdom between his two elder daughters, Goneril and Regan. He does this without consulting anyone, not even his closest advisors. This decision goes against the natural order of things because it goes against the tradition of primogeniture, which is the practice of inheritance being passed down to the eldest son. This decision ends up causing a lot of chaos and eventually leads to Lear’s downfall.
Another instance where nature is disrupted is when Edmund, Gloucester’s illegitimate son, tricks his father into thinking that his legitimate son, Edgar, is plotting against him. This causes Gloucester to turn on Edgar and try to kill him. This goes against the natural order because it goes against the idea of filial piety, which is the respect and love that children should have for their parents. Edmund’s actions end up causing a lot of pain and suffering for both Gloucester and Edgar.
The final instance where we see nature disrupted is during the storm scene. This is when Lear is out in the storm trying to find shelter from the harsh weather. The storm itself is a metaphor for the chaos that has been unleashed on the kingdom because of Lear’s actions. The storm is also symbolic of the natural order being restored. This is because after the storm passes, Lear comes to his senses and realizes the error of his ways. He then returns to his daughter, Cordelia, who represents nature, and reconciles with her.
King Lear is a tragic play by William Shakespeare that demonstrates the damage caused when people break the laws of nature. The play shows how important it is to respect and follow the natural order of things. King Lear also shows how nature can eventually restore itself after it has been disrupted.
Cordelia’s love for her father is natural, according to the laws of nature, and it embodies the clearest expression of filial duties. This law is on which Lear relies when he expects to be revered and obeyed as both a king and a father by all his daughters. Shakespeare emphasizes this theory when he notes that after Lear was treated cruelly by Goneril, he maintained that Regan, unlike Goneril, understands “the functions of nature, tie of childhood.”
Here, Shakespeare shows that Lear believes that natural law dictates filial duty and respect, which is why he feels so betrayed when his daughter does not show him the proper respect. King Lear is a tragic play by William Shakespeare that demonstrates the importance of familial bonds and the dangers of betraying those bonds.
In the play, King Lear foolishly gives up his throne to his two daughters, Goneril and Regan, who then turn on him and strip him of his power. This betrayal leads to Lear’s downfall and eventual madness. The play highlights the importance of honoring one’s family bonds and the consequences of breaking those bonds. King Lear is a powerful tragedy that speaks to the need for love and respect within families.
It is amusing that, in the midst of his very serious problems, Lear uses the identical term as Cordelia had done previously, “bond,” to describe his natural ties that he had broken before only to expect they would be followed by Regan when he was in need.
King Lear will now come to realize what it is like to be without a family, and he will King Lear is a tragic play by William Shakespeare that tells the story of a King who breaks off ties with his daughter only to learn the true meaning of family when he is left without one.
The play explores themes of betrayal, love, and loss, and ultimately shows how even the most powerful people can be brought down by their own choices.King Lear is a tragedy written by William Shakespeare that follows the story of King Lear and his descent into madness. | https://novelsummary.com/king-lear-as-a-tragic-play/ |
This exposes the evil habits in both domestic and political jurisdictions as brothers deceive brothers and children betray fathers. For instance, Goneril and Regan’s betrayal of their father enables them to ascend to power while in Britain where Edmund also joins them after deceiving Edgar and Gloucester (Shakespeare and Alan 301). This act of betrayal is a manifestation of greed and selfishness in Lear’s kingdom where ... ... middle of paper ... ...s that the parents trusted their families since they thought the children were always loyal. It is apparent that betrayal led to the demise and disintegration of families when the unwise and greedy children had to suffer. The author shows the theme of betrayal through a family medium to expose the significance of having a strong familial bond free from political inclinations.
Kent was able to see Cordelia’s love for her father and tried to make Lear see the same thing. But instead he got punished for it. As the play progressed, Lear slowly came to clear vision. he realized that that his two eldest daughter did not truly love him after they locked him out of the castle during a tremendous storm. He also finally saw through that Cordelia’s love for him was so tremendous that she was not able to put it in words.
He feels betrayed because his daughters who claimed they “loved” him the most went against his orders. It is like as if Lear views himself weak and not powerful anymore. In Act I, Lear commands his daughters to promote their love for him but in respect for her father Cordelia refuses to. Since Cordelia did not obey his orders Lear throws her out. He becomes furious because to him he feels as if his daughter has no love for him.
He deliberately betrayed his father so he could gain his title, and he let it go about harsh measures. He is a more evil parallel to Goneril and Regan in this sense that he doesn’t truly love his father, and cares more about himself rather than anyone else. Edgar is a parallel to Cordelia. Edgar loves his father throughout the play, although his confusion clouds his thoughts at times. Edgar is virtuous and comes to his father’s aid, when needed, and he even prevents him from committing suicide.
In the first act King Lear commands his daughters to profess their love to him as payment for their part of the kingdom. The conflict starts when Lear’s youngest daughter Cordelia refuses to respond to the king’s request, due to the fact that she does not want to lie to her father. Lear comes across as a very egotistical man who has to have everything his way. Therefore, due to Cordelia’s response it would make sense for him to become so enraged that he would ruin her marriage with Burgundy. Lear makes it very apparent that he wants all of Cordelias love and isn’t satisfied with Cordelia’s words which are not offensive, but hurtful to her father who desires all of her love.
Edmund wanted the respect and love that Edgar received even though he was Gloucester’s bastard son. He claimed that he was not much younger or “moonshines lag of a brother” therefore he should be considered just as smart and able-minded as any legitimate son. He built up hatred toward Edgar and in order to get rid of him he convinced his father that Edgar had betrayed him through a letter. The letter that Edmund made read, “If our father would sleep till I waked him, you/ should enjoy half his revenue for ever, and live/ the beloved of your brother, Edgar”(1.2.55-57). Edmund portrayed Edgar as the son that would kill Gloucester only to inherit his money and share his inheritance with Edmund.
In conclusion, B.S. Field Jr.’s analysis is an interesting take on Willy Loman’s affect on his sons, as a crime requiring punishment, but it does not go far enough to see all the implications of his crime or depth of his crime. Not only has he corrupted both his sons, he has only gifted suffering to his wife all in a vain attempt to be a successful well liked man who is treated better than others, without earning their respect. Due to everything his family has went through over the years, Willy Loman’s crime will extend past his life through his children who share his defects and through the pain his wife can’t escape.
Lear shows poor judgment when he banishes his favorite daughter and leaves her without a dowry. His two other daughters, Goneril and Regan knew of their father?s weak point, and they worked it to their own advantage. This way, Lear was satisfied at hearing what he wanted and at being flattered by his own daughters. But he also puts upon his daughters the responsibility for his happiness, and thus he will blame them when he?s unhappy. We see this in Scene 3 when Goneril is unhappy with her father.
Betrayal in William Shakespeare's King Lear A kingdom without order is a kingdom in chaos (Bradley). William ShakespeareÂ’s play King Lear is a play full of deception, betrayal, and insincere promises. ItÂ’s a tragic play that demonstrates what happens when children are concealed by greed and loose their love and respect for their parents. Goneril, Regan, and Edmund declare their affection to their loved ones for their ambition for power and to raise there status in Britain. After they get what they want they reveal their heartless characters by disowning their loved ones.
In other character’s eyes they see Edmund as a good guy and that he has done nothing wrong. The way the William Shakespeare Describes Edmund is a surprise to Glouscter and Edgar. He is said to be a good brother and a loyal son to Glouscter. Edmund sees himself as what he is doing is ok and acceptable to do. He thinks that he can get away with anything if he jus... ... middle of paper ... ... manage to throw him out they started to fight over Edmund, he had started to mess around with both daughters, later Albany decided to say that Edmund and Goneril have been planning to kill him and that he is a traiter. | https://www.123helpme.com/essay/King-Lear-Family-A-Medium-For-A-161732 |
1.Betrayal, Reconciliation, Authority versus Chaos, and Justice are different issues or themes that Shakespeare presents to his audience and asks them to battle and wrestle against. The first issue is the betrayal of the king and of Gloucester, and the reconciliation between them and their loved ones in the end, and the authority versus the chaos in the city on England and finally the Justice issue in which both the bodies of the good and the bad lay next to the each other in the end of the play.
2.Shakespeare implies a parallel between the two themes of Blindness and Madness. The two characters who suffer the most in the play are Lear and Gloucester. Their stories are similar in many ways; however, while Lear slowly goes mad, Gloucester is blinded but remains sane. Lear and Gloucester both seem to be able to perceive certain things more clearly after they lose their faculties. Lear realizes only as he begins to go mad that Cordelia loves him and that Goneril and Regan are flatterers. He comes to understand the weakness of human nature at the same time when Gloucester comes to understand which son is really good and which is bad at the very moment of his blinding.
3.Betrayals play an important role in the play and show the workings of wickedness in both the familial and political realms. Brothers betray brothers and children betray fathers. Goneril and Regan’s betrayal of Lear raises them to power in Britain, where Edmund, who has betrayed both Edgar and Gloucester, joins them. Also Reconciliation has an important role between Lear and Cordelia as a dramatic personification of true, self-sacrificing love. Rather than hating Lear for banishing her, Cordelia remains devoted to her king and father who meanwhile, learns a cruel lesson in humility and eventually reaches the point where he can reunite joyfully with Cordelia. These two issues of betrayal and Reconciliation have a clear relevance to our world today where there are lots of betrayals and reconciliations between families.
4.King Lear wanted to divide the kingdom among his three daughters. He intended to give up the responsibilities of government and spend his old age visiting his children. He commanded his daughters to say which of them loved him the most, and promised to give the greatest share to that daughter. Lear’s two older daughters, Goneril and Regan, responded to his test, telling him in exaggerated terms that they loved him more than anything else. But Cordelia, Lear’s youngest (and favorite) daughter, refused to speak. When pressed, she says that she cannot “heave her heart into her mouth,” that she loves him exactly as much as a daughter should love her father, and that her sisters wouldn’t have husbands if they loved their father as much as they say (I.i.90-91). In response to what she said the King gets mad at her and gives her nothing of the kingdom and takes his grace from her, and nearly banishes her.
5.King Lear’s two treacherous daughters, Goneril and Regan stripped him from his power which was symbolized in his hundred men that he wanted to keep with him all the time. First when he was living in Goneril’s castle, she told him that his men were causing so much trouble and that she has already sent half of them away. The king after knowing this leaves her house and goes to his other daughter praying that she would be better than her other sister. But, he was shocked that Regan would not even allow fifty but only twenty five soldiers. Finally neither Goneril nor Regan allowed him to have any soldiers with him which symbolized his total lack of control.
6.Shakespeare achieves a parallel structure throughout the play by his juxtaposition of the two families of Lear and Gloucester. Gloucester’s rejection of Edgar parallels Lear’s rejection of Cordelia in Act I, scene i, and reminds of the similarities between the two unhappy families: Edgar and Cordelia are good children of fathers who reject them in favor of children who do not love them. When Gloucester says, “I never got him”that is, he never begot, or fathered, himhe seems to be denying that he is actually Edgar’s father, just as Lear has banished Cordelia (II.i.79). On the other hand, when he praises Edmund as a “loyal and natural boy,” he seems to be acknowledging him as a true son (II.i.85) also just as King Lear thought Regan and Goneril were faithful to him. Shakespeare later also maintains the same parallel structure as he reconciles Lear with Cordelia and Gloucester with Edgar.
7.Gloucester’s physical blindness symbolizes the metaphorical blindness that gets both Gloucester and King Lear. The parallels between the two men are clear: both have loyal children and disloyal children, both are blind to the truth, and both end up banishing the loyal children and making the wicked ones their heirs. Only when Gloucester has lost the use of his eyes and Lear has gone mad does each realize his error. | https://swip-online.net/king-lear-3/ |
New Characters:
King Lear: king of pre-Christian Britain; protagonist of the play
Goneril: King Lear’s oldest daughter with whom he lives first
Regan: King Lear’s middle daughter who refuses to take him in
Cordelia: King Lear’s youngest daughter who is banished and disinherited
Duke of Cornwall: husband of Regan who stops at nothing to gain power
Duke of Albany: the mild-mannered husband of Goneril
Earl of Kent: King Lear’s devoted courtier who is banished
Earl of Gloucester: protagonist of the subplot whose family situation is analogous to Lear’s
Edmund: bastard son of Gloucester
King of France: marries Cordelia without a dowry
Duke of Burgundy: Cordelia’s suitor who rejects Lear’s dowerless daughter
Summary
Setting the scene for King Lear’s rumored intention of dividing his kingdom, Gloucester and Kent discuss the King’s preference between his sons-in-law, the Duke of Albany and Cornwall. Kent is introduced to Edmund, Gloucester’s illegitimate son, whom his father loves no less than his legitimate son, Edgar.
The trumpet sounds and King Lear and his attendants enter with his two sons-in-law and his three daughters, Goneril, Regan, and Cordelia. He immediately orders Gloucester to attend to the King of France and the Duke of Burgundy who are both suitors contending for Cordelia’s hand in marriage. Gloucester leaves and without delay Lear clarifies his intended purpose. He plans to divide his kingdom among his three daughters, giving the greatest share to the daughter who publicly professes to love him most.
Goneril, Lear’s oldest daughter, is called on first. She flatters her father into believing that she loves him more than “words can wield the matter.” Not to be outdone, Regan claims to love the King as much as her sister does, except that Goneril “comes too short.” Expecting a grander expression of love from Cordelia, his favorite, the King is surprised and angry when her reply is simply “Nothing, my lord.” He implores her to mend her “speech a little” or else she might “mar her fortunes.” She tries to explain to the King that she only speaks the truth, but it is to no avail. Lear banishes her without an inheritance or a dowry.
In a futile attempt to change the King’s mind, Kent argues on Cordelia’s behalf but is also banished. He bids good-bye to the King, commending Cordelia for speaking truthfully and admonishing Goneril and Regan to live up to their “large speeches” of love for their father.
Gloucester ushers in the King of France and the Duke of Burgundy. They are both made aware of Cordelia’s banishment and recent loss of fortune and are given a chance to accept her without a dowry. The King of France is confused, wondering what Cordelia, who had always had been Lear’s favorite, could have done to deserve such treatment from her father. Cordelia begs her father to understand that she lacks the “glib and oily art” to speak of her love for him, but he only responds with a wish that she had never been born. Burgundy appeals to Lear to change his mind about the inheritance, but the King is unyielding. When Burgundy rejects Cordelia for lack of a dowry, she responds with a refusal to marry him if he is only interested in her “fortune.” The King of France who has gained a new admiration and respect for Cordelia, happily accepts King Lear’s “dow’rless daughter” and offers to make her the new Queen of France.
Without her father’s blessing, Cordelia bids farewell to her sisters with tear-stained eyes, telling them that she wishes she could leave her father in better hands. Goneril and Regan sneer at her request for them to love Lear well. When they are alone together, the older sisters quickly turn on their father, discussing his “poor judgment” and making plans to usurp his power to prevent any more of his rash behavior.
Analysis
The universality of King Lear revolves around the theme of appearances versus reality as it relates to the world of filial love and, in... | https://www.enotes.com/topics/king-lear/act-summaries |
Globe Theatre Fact 3 The Globe was built as a large, round, open air theatre. There was a roof around the circumference which covered the seating area, leaving the theatre looking like a doughnut from above. Globe Theatre Fact 4 The architectural style of The Globe was similar to the Coliseum in Rome, but on a smaller scale — other Elizabethan theatres also followed this style of architecture which were called amphitheatres.
Shakespeare King Lear Drama Death William Shakespeare's King Lear begins with Lear ignoring the natural order of family inheritance by deciding to divide his kingdom amongst his three daughters before his death. Typical of human nature, Lear is swayed by the sycophantic flattery of his two eldest daughters, Goneril and Regan, while his true and loving daughter, Cordelia, is left out in the cold.
Even Lear himself divides his kingdom for a greedy reason, wanting all of the perks of being king, but none of the responsibility. The sweet, innocent Cordelia stands little chance against the treachery of her sisters. Instead it is nature that governs the outcome, a sort of Darwinian survival of the fittest in which the most desirable qualities are avarice and deception.
Although the play takes place before the rise of Christianityit was written for a Christian audience. Many English protestants believed that God had a plan for everyone and that everything that happens in the universe occurs for a reason and will eventually lead to a greater good.
In this play however, this belief is notably absent. What happens in the play does not seem directed towards any greater good, by the end of the play the king and all of his daughters are dead, leaving England under control of Albany or Edgar.
Instead the play is directed by the greed of men and women who want happiness, but have done nothing to deserve it. The tragic ending of the play reflects a nihilistic viewpoint where there is no promised end outside of chaos and death. By dividing up his kingdom King Lear wishes to give up the responsibility of being king, but keep all of the benefits.
This is another form of greed, different from his daughters, but still clearly wrong. This wish to retain his power is made evident by Lear banishing Kent shortly after stepping down from the throne: Hear me, recreant, on thine allegiance hear me!
That though has sought to make us break our vows, Which we durst never yet, and with strained pride To come betwixt our sentence and our power, Which nor our nature nor our place can bear 1. He has gone against his natural father daughter bond by banishing Cordelia and he now uses power he no longer has to banish Kent from the kingdom.
His description of these bountiful natural resources only makes Goneril and Regan salivate more, hatching plots to outdo each other and win a bigger piece of land. Here Lear calls upon nature to reject it at the same time, cutting ties with his own daughter.
Nature is often personified in this play, a pagan god in the world of Lear. Cordelia stands for truth, refusing to build up her fathers ego and argue over silly things with her sisters like loves their father most.
In nature the goal of life is about survival and the perpetuation of the species, and that means doing whatever it takes to benefit yourself, as both Goneril and Regan have done. But Cordelia separates herself from that, standing by very human things like truth and love instead of riches.
The same Nature that Lear refers to is the same that Edmund swears his allegiance to. Despite Gloucester claiming to love them the same, Edmund still feels slighted. In his desire to take what he believes is his he is being more natural, using his skills of deception to best his brother and take his birth right, no matter what human laws may say.
He addresses nature in the soliloquy where he lets us know of his evil intentions: He then misleads his father into thinking Edgar is trying to kill him, and Gloucester himself becomes so upset that he questions nature: These late eclipses in the sun and the moon portend no good to us.
Though the wisdom of nature can reason it thus and thus, yet nature finds itself scourged by the sequent effects. After Gloucester is blinded, Edmund receives his reward for his scheming, becoming the new Duke of Gloucester.
This would lead you to believe that this natural societal order of things has lost out to a more bestial order. Goneril and Regan also have a bestial lust, not only for power, but also Edmund. It is the jealousy that flares up between them that leads to their deaths. The natural order, in a societal sense, is restored when in the death of these sisters, but also when Edgar reclaims his birthright by defeating Edmund in single combat.
This is a small victory against the nature that has ravaged England throughout the play. Humanity still loses this war against nature because the rightful king, that of divine right, is dead, and so are his daughters.In Shakespeare’s King Lear, Poor Tom—a figure of madness, poverty, and linguistic play—acts as the personification of the semi-apocalyptic state into which the social world of the play descends.
Edgar first appears fully as Poor Tom in Act 3, in the midst of the storm, when Lear’s madness becomes fully . Read facts about Shakespeare's Globe Theatre, linked with Shakespeare through years and three buildings.
The Globe Theatre Fact 1: Built in in Southwark on the south bank of London’s River Thames by Richard Burbage. Hamlet by William Shakespeare - The play Hamlet, written by William Shakespeare, builds up a story beginning with the murder of Hamlet`s father, as it leads to the downfall of not only Claudius, Old King Hamlet`s brother, but also Hamlet`s death, as the story slowly unravels with the death of many other characters, and the events that shape the story into its final moments.
Hamlet, the play within a play scene. What does the Mousetrap tell Hamlet about Claudius? An author truly worthy of a year’s study in high school (or at any time), William Shakespeare was dramatic, poetic, surprising, enlightening, hilarious, heart-breaking, and so much more.
There is little debate that Shakespeare is the greatest Renaissance tragedian, and that King Lear (pr. c. , pb. ) and Hamlet, Prince of Denmark are the best examples of his work in. | https://kitisezanyq.alphabetnyc.com/an-analysis-of-the-ending-of-king-lear-a-play-by-william-shakespeare-19485fo.html |
to listen in on the announcement going on in throne room.
Lear then quickly gets on the “darker purpose” of the gathering and announces
formally of his decision to divide his kingdom, “we have divided in three our kingdom”. In
doing so, he is also announcing that he is “shaking all cares and business from our age”
indicating that he is stepping down from his throne while he makes his “unburdened crawl
toward death”. His intention of trying to prevent the “future strife” is an irony as he is
unaware of the consequences of his rash decision. Later on in the play, he gets a taste of the
strife that he set himself. Lear’s “get-down-to business” attitude reflects his efficiency as a
king. However, his decision to retire is a violation to the Divine Rights of the Kings which
states that the kingdom cannot be given to anyone else as the king was born with the title.
Lear announces a “love competition” as he commands his daughters to confess their
love towards him, “which of you shall we say doth love is most”. As the eldest, Gonerill
starts to express her love for her “beloved” father. She starts giving Lear over the top
expressions of her love for him, “I love you more than word can wield the matter”, claiming
that her... | https://www.studymode.com/essays/King-Lear-Division-Kingdom-329060.html |
King Lear Alotting His Kingdom to His Three Daughters, 1872
In our last class we had a full-length discussion on the work of Julia Margaret Cameron. I was particularly intrigued by how Cameron staged her photographic subjects; she determined what was to be worn, how the subjects were to pose and the level of intensity of their facial expressions.In each photograph, especially ones that depict scenes from myth and literature, Cameron takes on the role of the director of a static theatrical production. We briefly touched upon Cameron’s depictions of famous Shakespearean scenes. So I’d like to examine one that we did not look at.
I recently finished reading Shakespeare’s “Tragedy of King Lear,” for my Amherst Shakespeare course. The plot is based on the relationship between a man and his daughters. King Lear, an elderly and innocent King is deceived by two of his daughters, and blind to those who are truly loyal to him. Female characters in this play actually have a lot more substance than many other Shakespeare plays. Instead of a central female figure, we are given three. One, Cordelia, a symbol of purity and innocence, and Goneril and Regan, evil and conspiring figures. The play is set in a pre-Christian era, which paints a world surrounded by the the fantastical and natural world.
When it was mentioned in class that Julia Margaret Cameron photographed a scene from King Lear, I knew I had to do a close reading. The King Lear photograph is entitled, “King Lear Alotting His Kingdom to His Three Daughters.”
The scene depicted in the photograph takes place at the beginning of the play. King Lear is aware of his advanced years and deteriorating sanity, and has thus decided to distribute his power and land equally amongst his three daughters (and their husbands). While Lear seeks to give up the work necessary for a King, he still wants to maintain his power over emotion and the loyalty of others.
In order to determine who gets what part of the Kingdom, he asks his daughters to explain how much they love him.
Goneril and Regan, the two eldest daughters, will say anything to attain power. So each give over-the-top, wordy proclamations of false devotion and love.
Cordelia, on the other hand, sees a problem in this request. She is the only daughter who truly loves her father, but she knows that she cannot participate. In her opinion, to admit that her father is the only one that she could ever love would be a lie. What about her future husband? What about her sisters’ husbands? The truthful Cordelia thus refuses to adorn her father with false proclamations of love. Feeling betrayed, King Lear banishes his once favorite daughter. All the while, his two eldest daughters plan to usurp all of his power and ultimately plot against his life.
Cameron captures this intense moment incredibly well. The King Lear figure in the middle, who is actually her husband, has long and snow white hair. His hair gives him both a regal quality and elderly appearance. His age and decrepitness is further emphasized in the presentation of his hands. The camera has a clear image of the long veins protruding from his skin. His long and gangly fingers grasp the detailed cain, further suggesting that he is not able to support himself.
This regal but visually weak King look as if he is also leaning on the two women to the left. These women are Goneril and Regan. As Lear leans against them, you can see the daughter in the foreground placing one finger against his shoulder. Her eyes are facing downwards with her mouth slightly open. It looks as if she is whispering into his ear, filling him with false proclamations of love and devotion. The other daughter is almost completely covered by the first. We can only see her face which looks off into the distance. Her eyes give off a maniacal feeling. While the first daughter speaks of love, the second reveals to the audience their true intent and vision of the future. It should also be noted that the the eldest daughter in the foreground is the only sister wearing fine clothes and jewelry. We can imagine that the sister behind her is dressed in the same way. By adorning these two evil sisters in royal luxury, Cameron hints at their selfish and sadistic nature. While they appear beautiful on the outside, their adorned bodies are merely a distraction from the evil truth within.
The King’s cane itself serves as a hint that the sisters are up to no good. If you look carefully, the cane is carved with a serpent rising from the wood. In the play, there are comparisons drawn between the sisters and snakes. Serpants are often seen as symbols of evil. It’s as if the serpent from the cane is wrapping itself around Lear’s hand just as one of the eldest daughters is placing her finger on his shoulder.
These sisters come in sharp contrast with the woman on the right who is playing Cordelia.Unlike her sisters, she is dressed plainly. She is only wearing white, a symbol of the divine or pure. Her facial expression gives off a childish innocence. While here sisters’ expressions give off an almost sensual gaze, she looks down in thought. She is almost ashamed that she cannot do what her father asks.
It is possible that Lear has just banished Cordelia. While all three sisters have their hair down, Cordelia is the only one who does not have a crown on her head. Could Lear have stripped it from her? Her body is also not as intimately connected to her father has the other two sisters are. The black triangular space between Lear and Cordelia gives the viewer a sense of physical and emotional separation.
We discussed in class that Cameron, when working with plates, would allow them to be exposed to scratching and smudging. If you look at the bottom right-hand corner of the photograph you can see what looks to be three streaks of dirt. This in fact appears to be Cameron’s smudged finger prints. This adds an eery element to the photograph. The dark finger marks placed over Cordelia’s body look as if death’s fingers are reaching out for her. In fact, if we personify death through Cameron’s smudges, it could be said that death is reaching out for Lear and all three of his daughters. Spoiler alert, all of them die at the end of the play.
Sources: | https://victorianvisualculture.blog/2015/12/02/plays-in-pictures-julia-margaret-camerons-king-lear/ |
Lear is certainly regarded as the tragic hero of King Lear. In the opening scene, we see him divide his kingdom and then banish the only daughter who really loved him, all because she would not participate in his game of love. Not only does he banish Cordelia but also his loyal servant Kent. These examples of terrible decisions convey his poor judgement which many regard as his fatal flaw (hamartia). Lear begins the play as the king and his entry on to the stage is accompanied with great pomp and ceremony. The play then follows him as he falls from this high status. The audience then see him standing outside of a hovel, having been thrown out of his daughters’ houses. This is a powerful reversal of fortune. Shakespeare further emphasises this by having Lear strip on the heath so the audience can witness the loss of his status in a physical way. Furthermore, Lear experiences an anagnorisis as he recognises the mistakes that he has made and he sees the truth about his own behaviour “They flattered me like a dog… To say ‘aye’ and ‘no’ to everything that I said!” (4.6.95–98). Some may question the tragic hero status of Lear. His failure to understand who to trust may mean some feel he cannot be regarded as a true tragic hero as his actions are too foolish.
- Why is Lear regarded as a tragic hero?
- Your answer should include: Fatal / Flaw / Fall / Anagnorisis
Madness
There are different examples of madness within the play. Lear’s actions lead him to what seems like madness. This is illustrated by him stripping on the heath and refusing for some time to find shelter. He even admits that “My wits begin to turn”. The importance of madness within the play is further shown in Lear’s cry ‘O let me not be mad, not mad, sweet heaven!’ The storm itself seems to be a mirror of Lear’s mental state. Once reunited with Cordelia Lear does speak as if he has entered the next world which would suggest his madness continues. However, there is evidence in this scene that he moves to some sanity although the proceeding events understandably lead him to see Cordelia’s breath after she has been murdered. The Fool could be regarded as another figure representing madness and indeed fools were sometimes people with mental disabilities. Often though a fool was an entertainer and thus intelligent. There is evidence of this in some of the Fool’s speeches where he makes insightful comments and shows an understanding of the mistakes Lear has made. While his words can appear strange, once analysed they are often meaningful. His song in Act I scene iv is an example of this, “That such a king should play bo-peep” as he is questioning Lear’s behaviour. Edgar has to take on the disguise of a Bedlam beggar, with the idea that he has come from a hospital for the ‘mad’. He too then is not really mad, despite appearances, and it is through his words that Gloucester to recognises his errors. Shakespeare’s exploration of madness in this play could be regarded as a way to examine what it means to be human.
- Who can be seen as mad within the play?
- Your answer should include: Lear / Fool / Edgar
Blindness
Blindness is most clearly shown through the characters of Lear and Gloucester. It is Lear’s blindness to the truth behind the words his daughters express when he asks them to say how much they love him that leads to his downfall. His failure to see that Regan and Goneril are only flattering him to get their land means that he has placed his trust and his kingdom with the wrong people. Once they have this power they are quick to reject him and his rowdy knights resulting in him being homeless upon the heath. Cordelia was the daughter who loved him but he only recognises this much later. It can be argued that it is only his madness that brings him to see the truth. Kent tells him to “See better, Lear” and this is what he does. Similarly, Lear has been blind to the people in his kingdom and he has failed to see and thus take care of the poor. His fall allows him to finally see the truth in the form of Edgar disguised as the beggar and it is then that he shows kindness towards him “Come on, my boy. How dost, my boy? Art cold?” Gloucester is blinded in one of the most horrific scenes in Shakespeare’s plays. His eyes are gouged out by Cornwall for helping the King. However, it can be argued that the blindness was evident before this. He has been tricked by Edmund who suggested Edgar had plotted against him. Gloucester’s failure to see the truth about his sons resulted in Edgar fleeing. Interestingly it is after the physical blinding that Gloucester can see the mistakes that he has made and he even states “I stumbled when I saw”.
Age
Both Lear and Gloucester are old men and their age does seem to be an important aspect of the play. In the opening scene Lear is giving up his kingdom so that he can “crawl unburdened toward death” immediately suggesting that Lear feels he wants to stop ruling because of his age. This could be viewed as foolish as it is this decision that leads to his downfall. There are other mentions of age such as when Lear refers to himself as “I am a very foolish fond old man”. It is also the abuse of these old men that creates the shock among the audience. Both Goneril and Regan criticise Lear because of his age “O, sir, you are old […] You should be ruled and led” and in the torture of Gloucester Regan takes pleasure in plucking his white beard.
Foolish
Lear refers to himself as foolish and this description does seem to be applicable considering his actions of the opening scene in his game of love and indeed the very act of giving up his throne. His move into madness also presents him as foolish. He refuses to shelter despite the storm and he undresses. However, it is at this point that he shows empathy for Poor Tom. Similarly, the Fool can certainly be regarded as foolish but he also shows insight about the events and guides Lear. The play could certainly seem to be asking what it means to appear wise and actually be foolish or to appear foolish and actually be wise.
- Who is a foolish within the play and why could you regard them as such? | https://studyrocket.co.uk/revision/a-level-english-literature-aqa/b-tragedy-kinglear/lear |
I think that throughout the book, the way it is written it seems as if Lear is the bad guy. To me I think that he is just really misunderstood, and I think that’s why he is my favorite character. Just because he was the King everyone views him as some snob who just cares about power and land but what he really cares about is his family and doing the right thing. He got his land robbed from him and was betrayed by his own daughters and yet still kept a positive mindset on things. At certain points there are times where he seems bad, but he has so much anger built up because of the betrayal he has gone through and sometimes that anger comes out. He is also a character that shows a great amount of change/development. In the begging he is very uptight and banishes certain people for very silly reasons yet overtime he learns things about himself and realizes that without power you have to gain peoples respect on your own without just demanding it. Characters that grow over time appeal to me a lot because it shows how dynamic they are and how unique their personality is. Lear completes the plot of the play and shows many themes throughout just through himself. Without him the book as a whole wouldn’t make sense and would lose so much of the dynamic effect.
Day: February 11, 2022
King to Father
Throughout out readings of King Lear, it is evident that Lear no longer understands the world around him and no longer understands others advise to him. It is said in the very first chapter that Lear is growing older, and he realizes this and therefore he gives away his lands and money but most importantly, he doesn’t give up his title as king. He subconsciously was not ready to give up his claim because he knows no other identity than that as king. He does not realize that there are many things and relationships that make up a person’s identity and because of this, those people have the ability to mold each other’s characters.
Lear does not think of himself as a father. He will say that he is the father of his daughters and that is true but there is more to a father than just biology. A father should be caring, loving and accepting. If these things are believed to be true, then why would a father disown his daughter because she professes that she can love her father and her husband? By the end of the novel, Lear is stripped of his army, his daughters, and his sanity but through it all, he finally understands that he only ever needed one person to love him, not an entire army nor kingdom. His reconciliation with Cordelia was a turning point in Lear’s character because he understands that being king is temporary, but being a father is permanent.
Edgar the Survivor
In the beginning of King Lear, Gloucester establishes Edgar as his legitimate son and Edmund, born from a different mother, as his bastard son, meaning Edmund will not be able to collect any inheritance. This creates an inevitable conflict between the two brothers that ignites after Lear gives away his land and begins his slow and painful path toward death. Edmund convinces Edgar that he has been banished by Lear, then accusing Edgar of a violent crime in order to receive inheritance.
And so it began: the humiliating time in Edgar’s life where he just tried to establish himself as a loved and wanted person rather than someone who serves no purpose, manipulated by the promise of money. Edgar can’t control the fact that his brother can’t get any inheritance, but instead of urging Edgar to help him, Edmund simply tries to end Edgar’s life.
“Who gives anything to Poor Tom … that hath laid knives under his pillow and halters in his pew, set ratsbane by his porridge, made him proud of heart to ride on a bay trotting horse over four-inched bridges to course his own shadow for a traitor?”Edgar, III.iv.58-61
Now disguised as Poor Tom to save himself from execution, Edgar has a way to articulate how, as the legitimate child, he has for his entire life served as nothing but an example of power and has been taken advantage of by his younger brother. As someone born into wealth, he would be deemed a traitor, but disguised as a beggar, Edgar would attract pity through this language.
Throughout the story, Edgar remains in disguise, a peacekeeper among the conflict that Lear has kickstarted. He helps Gloucester, who has also been deemed a traitor and had his eyes plucked out for his compassion towards Lear, die at peace among the chaos:
“Give me your hand. Far off methinks I hear the beaten drum. Come, father, I’ll bestow you with a friend.”Edgar, iv.vi.314-316
Edgar not only saves his father, but he saves himself as well, choosing the perfect moment to reveal himself to Edmund when the war is lost. Killing his brother in a fight, Edgar takes revenge for all the suffering Edmund has caused him. One of the sole survivors of Shakespeare’s tragedy, Edgar gets a second chance at living an impactful life.
In class, the motif my group tracked was the storm, and a central theme that we took away from it was that when one endures suffering, they see personal growth in the end. Edgar, who loses his home, disguises himself as a beggar to save his life, and watches his own father die, ultimately survives, and he can grow past the stage in his life where his only purpose was to demonstrate power and inherit money.
Misogyny in King Lear
In King Lear, each of Lear’s three daughters represent different negative qualities of women. The manner in which they are portrayed suggests strong misogyny throughout the play. Shakespeare reveals his interpreted weakness of each female character by highlighting Goneril’s infidelity to Albany, Cordelia’s flawed relationship with her father, as well as the power Regan holds over Cornwall. The characteristics of the female characters and their consequent punishments indicate Shakespeare’s misogyny.
Shakespeare portrays Goneril as cold-hearted due to her unfaithful relationship with Albany and ultimately suggests that these qualities were deserving of death. It appears that Goneril believes she has done everything right by lying to her father about her love and remaining faithful to her husband despite her feelings for Edmund. Shakespeare’s misogyny is highlighted when he kills Goneril as punishment for her lack of control and infidelity.
Cordelia’s insubordination and subsequent death is a clear depiction of Shakespeare’s misogynistic tone. She admits she is unable to love her father more and respects him enough not to lie like her sisters did. While her truthfulness initially seems respectable, Shakespeare portrays it as disrespectful and Cordelia is punished by death
Regan holds power in the play which is ultimately the reason Shakespeare portrays her in such a negative light. Regan has more wealth and power than Cornwall and therefore holds the dominant position in the relationship. Shakespeare portrays Regan as villainous because of her ability to overpower Cornwall. The servants exemplify the play’s view on women by making various hateful comments about Regan, one of which is “Women will all turn monsters”. Her ability to gain power in a relationship where she stereotypically should have been submissive is portrayed in a particularly negative manner. In a similar fashion to her sisters, Regan is also punished with death by the end of the play.
Why are women in power so threatening?
We can all agree that in King Lear women in power are villainized. By being portrayed as vicious animals, and”tigers not daughters” the narrative sets them up to be antagonists.
Think about all the women you have seen in power. Sure, we’ve progressed as a society enough to even allow women in power which some may argue is enough to define us as inclusive. But have you ever seen a woman in politics run a successful election and come out with her reputation completely unscathed? Hillary Clinton, AOC, Michelle Obama; each of these women has to do something men don’t have to in order to make her way in politics: prove their worth. These women are constantly questioned and belittled for each decision they make, and it’s because America has a problem. A problem with powerful women.
So why are they so scary?
It’s because of how powerful the image of the “ideal woman” has become. She’s small, clean, submissive, pure, unconditionally loving, and naive, and best of all she never asks for anything more than a man might deem her worthy of. We hate women in power because they break this narrative. It’s easier to villainize someone if they stand out from other members of their group, or at least don’t match the stereotypes of that group. Women have trouble holding positions of power because it has become so ingrained in our society’s culture to believe that women cannot hold positions of power. We have learned that women are submissive and a real man is he who holds power. A woman that has learned her true power and worth is the most dangerous thing to a man. A woman that hasn’t is easier to manipulate.
When we see a woman ascending to a position of power, there are immediately news stores attacking her, allegations fly forward from seemingly nowhere, and her sanity is often questioned. We have a problem with women in power because we have been taught to. We have a problem with it because it switches the gender dynamic, and men with fragile masculinity problems will do anything to keep a woman from making him feel feminine by holding power over him.
Disguise in King Lear
Throughout the play, King Lear, Shakespeare uses disguise as a major role in his characters. At the beginning of the play, Regan and Goneril disguise themselves in front of their father, to make it seem that they worshipped him. Many of the character disguise their intentions towards other characters, as well as pretend to be someone they’re not.
Kent disguises himself as a beggar, and even changed his name to “Caius”, so that he can cntinue to sere Lear. Obviously, this shows that Kent is extremely loyal to Lear, but many of the characters use disguise as a way to make personal gain.
For example, Edgar disuises himself as a poor person named “Poor Tom”, in an effort to not be tracked by his brother and other men. Edgar really gets into this character, and this disuise ultimately allows him to confront his father. Edgar ulyimately becomes the next ruler of the kingdom, so the use of disguise ultimately beneffited him.
Edmund, Edgar’s brother, also dusguises himself as the “good son”, and uses many efforts to frame Edgar, saying that Edgar had intentions to kill his father Gloucester. Like some of the other characters, Edmund uses disguise for his own personal gain.
Shakespeare uses disguise as a constant motif throughout the play, and the use of disguise really showcases the values of each person using that disguise, and what kind of person they really are.
Edmund and His Ladies: Lust or Love?
In the play King Lear by William Shakespeare, Gloucester’s bastard son, Edmund, ends up in a love triangle with Goneril and Regan that eventually leads to jealousy and death. Initially when he is staying with Goneril and Albany, Goneril falls in love with Edmund, and he claims to love her as well. Later, Edmund is sent to stay with Regan and Regan and Edmund also claim to be in love. My biggest question is: Is it love or lust?
First up is Goneril, the eldest of Lear’s daughters. Out of all of them, I honestly believe Goneril was actually in love with Edmund. He was the man that her husband never was. He is obedient and allows her to make decisions, but still possesses a lot of manliness and the ability to take control and command others. Plus the fact that he was young and handsome definitely helped. I believe that Goneril fell in love with these qualities and honestly thought she has finally found the man she deserved. Her love is further proved by the fact she had no issue poisoning her sister, even though they were conspiring against King Lear together, in order to keep Edmund all to herself. Then, Goneril shows her full devotion to Edmund when she makes the decision to kill herself after seeing he was mortally wounded. I honestly think that she must have been in love with him for her to decide to die with him.
Second to the chopping block is Regan, the middle child. Of all three, I think Regan was the one most fueled by lust. Most of Regan’s attraction to Edmund is physical and maybe due in part to her husband’s death. To me, it felt more like Regan wanted to possess Edmund and gloat about it to Goneril. From her role in the love triangle, I kind of thought Regan was just trying to “win” in some sort of sibling rivalry. She does whatever she can to seduce Edmund, and claims she loves him. However, something about that proclamation just feels fake.
Last and definitely the most interesting of the three is Edmund. He is caught in a love triangle with the two most powerful women in Britain. I think that Edmund was experiencing a mix of love and lust. Edmund definitely lusted after both women, probably even more so due to the fact that there were two powerful women that wanted him. However, not love in the sense of being “in love” with either Goneril or Regan. I believe that Edmund was in love with the sense of power he got from being these two women’s center of attention. I also think that he was in love with the possible future he could have and he saw that he could use Goneril and Regan to never feel like a bastard again. He went from being the lowly bastard child, always in Edgar’s shadow, to being respected by the royals and having the opportunity to marry into the royal family and be known by everyone. He was in love with the power he suddenly had.
The Power-Love Dichotomy
In line 289 of Act IV, Scene vi of King Lear, as Edgar reads the letter from Goneril to Edmund plotting to kill Albany, Edgar laments that “To know our enemies’ minds, we rip their hearts” — which is to say, in order to maintain power for himself and his father and prevent Edmund from gaining power, Edgar had to sacrifice his loyalty and love for Edmund. This is one of the most important topics of King Lear: when it is worth it to sacrifice love for power, and when it is worth it to sacrifice power for love. I’ve color-coded these two sides of the Power-Love Dichotomy to make it easier to keep track of the examples listed below:
- In Act I, Lear appears to sacrifice his power in search of his daughters’ love as he splits his land between them; yet, later in Act II, Lear sacrifices the love of Regan and Goneril because he wished to maintain his own sense of power through the housing of his 100 supporters.
- At the end of Act III, Regan sacrifices her husband (by refusing to save him from his stab wound, as portrayed in the film) in order to take over his power…
- …however, Regan and Goneril feud with each other — and ultimately kill each other, in Act V — for the love of Edmund, each willing to sacrifice their own power for his love; in fact, Regan even tells Edmund, “Take thou my soldiers, prisoners, patrimony. / Dispose of them, of me; the walls is thine” (V.iii.89-90), effectively pledging to surrender her entire land and power to Edmund in exchange for his love.
- Cordelia, on the other hand, contrasts with her sisters’ initial prioritization of individual power over love for Lear — in Act IV, Scene vii, Cordelia tells Lear “you must not kneel” (IV.vii.67), showing how she is willing to sacrifice her power over Lear solely because of her love for her father. Lear appears to mirror this sacrifice of power for love as well as he rejects Cordelia’s submission to his own authority: “When thou dost ask me blessing, I’ll kneel down / And ask of thee forgiveness” (V.iii.11-12)
- At the end of the play, Albany proposes that he and all others who still have power would give it all up and give Lear all of the power of the kingdom until his death, out of a combination of regret, guilt, and most relevantly to this analysis, love: “we will resign / During the life of this old Majesty, / To him our absolute power” (V.iii.362-364)
Out of curiosity — can you all think of any other examples of the Power-Love Dichotomy in King Lear?
How Should we Judge the Morality of Shakespeare’s Characters?
I believe that King Lear does a good job at giving morality its nebulous nature. Every character is much a more a product of their experiences than they are of some innate malicious intent. The antagonists of Lear are generally indignant, and rightfully so. Edmund’s actions are a product of his unfair treatment within society as a bastard. Regan and Goneril are second to Cordelia, as Lear is noted to have played favorites. And Lear, with his inability to take criticism, is this not just a pernicious side effect of his position within society. And if it is to be supposed that these characters are not a product of their environment, one would have to argue that they are a product of nature. This leaves a difficult dilemma where blame is escapable. Why blame character for actions that are dictated purely based off of either their environment or their innate qualities? This is simply not a feasible model for anything, it is not practical, riddled with excuses for actions, and disheartening. We cannot prove that free will exists, and yet we must accept that it does, for everything falls apart without that assumption. If we cannot prove its existence, we must at least pretend. In addition to this, what dictates the will of these characters? Does one dictate one’s own will? What wills Cordelia to forgiveness? What wills Goneril and Regan towards hate? Are we capable to dictating our own will, or only recognizing it? While I do not believe that Shakespeare attempts to answer these questions, or that this play speaks against the concept of a freely determining will, I still think Shakespeare is arguing that taking into account the experiences of a person is the most essential aspect to determining their character. King Lear touches on this, and by doing so, Shakespeare argues for a message of mutual understanding, of causal examination, and of empathy.
Where’d the Fool Go?
In Shakespeare’s King Lear, The Fool is an important character who helps guide Lear through his loss of power and gives him important advice along the way, along with offering comedic relief. That being said, I, along with many other readers, are likely left wondering where The Fool went for acts 4 and 5.
The Fool was extremely loyal and honest to Lear, and stayed by his side throughout his downfall, which is more than many did. The Fool’s role was important, as his honesty likely kept Lear the little sanity he had, saying things such as “Thou hast little wit in thy bald crown when thou gavest thy golden one away” (I.IV.159-160) and “He’s mad that trusts in the tameness of a wolf, a horse’s health, a boy’s love, or a whore’s oath (III.VI.18-19)”. Lear let nearly no one talk back to him, with The Fool being an important exception, as he did it in a comedic manner. The Fool’s honest advice displays his loyalty to Lear, which is partly what makes his disappearance even more mysterious.
The last time The Fool was seen was in Act 3 Scene 6, when Lear is still in the process of going mad and is causing trouble for Kent, Edgar, and The Fool. This makes The Fools disappearance even more strange, as he cares deeply for Lear, and left when Lear needed him most. He dealt with Lear’s madness before, and knew how to handle it, so his sudden disappearance seems a little strange. The Fool doesn’t say anything about where or what he is going to do, which is what truly makes this a mystery. The last line he says is “And I’ll go to bed at noon”(III.vi.90). This line doesn’t exactly say what The Fool is going to, but it hints at the idea that he will die in some way, potentially suicide. This is never proved, however, and Shakespeare’s lack of stage directions builds into this mystery about what happens to The Fool, as it says nothing about what he actually does in that scene.
Finally, in the end, Lear casually mentions “And my poor fool is hanged”(V.iii.369). This line could’ve been interpreted to meaning Cordelia, as she was hanged recently, and calling her his “fool” could’ve been as a sign of endearment to her. On top of that, “fool” isn’t capitalized as the character The Fool’s name had been throughout the entire play, so that also points toward the idea that Lear was referring to someone else. However, it does go along with the fact that The Fool ominously hinted towards his death, and it would explain his absence in Acts 4 and 5, as he was loyal to Lear, and it doesn’t make sense that he would abandon Lear when Lear needed him most.
Overall, The Fool is loyal to Lear, and is one of the few characters who actually cared for Lear and gave him honest advice when he could. The disappearance of The Fool is up to the reader’s interpretation, and, just for what it’s worth, I believe The Fool hanged himself.
Sibling Rivalry
While reading King Lear, I couldn’t help but relate and compare and contrast the the familial relationships I observed and analyzed in the play to those of my own. For instance, although still heavily controversial in the Darley house, I have never actually tried to kill any of my siblings. However, competitiveness and sibling rivalry often result in bitter and unkind actions that can be compared to harshness initiated by the same friction in both Regan and Goneril and Edmund and Edgar’s relationships. For example, although none of us have ever attempted to get another sibling completely disowned by our parents, my little sister’s habit of tattletaling on me for my messy room comes pretty close to Edmund’s deceitful plan to distort his fathers perfect perspective on his son Edgar. Furthermore, the competitiveness I observed between Regan and Goneril led me to reflect on the motive for the majority of the fights between my siblings and I. Whether it was my older brother and I fighting about his special treatment as the “golden child” or the weekly quarrels about who can wear who’s clothes with my sister, they all have the common source of jealousy and/or greed. While reading about Goneril and Regan’s cruelty to each other, this nature of sibling rivalry became more and more apparent until their final downfall at the end. From their ending deaths, I inferred the message that sibling rivalry and harshness is, yes, usually very natural, but also very unnecessary and dangerous.
Why, Kent, Why?
I don’t understand the Earl of Kent. In the first scene of Shakespeare’s King Lear, Kent is banished from the British kingdom for disagreeing with King Lear’s methods to split up his land among his daughters. He leaves with the line, “He’ll shape his old course in a country new” (I.i), referring to Lear imposing his old ways on a country he is giving away to his daughters.
Kent then returns disguised as Caius, with the sole purpose of serving the King, explaining “If thou canst serve where thou dost stand condemn’d, / So may it come, thy master, whom thou lovest, / Shall find thee full of labours” (I.iv). However, he then flips this on its head by challenging Goneril’s servant, Oswald, to a swordfight, when Oswald clearly is not interested in fighting (II.ii). This leads to Cornwall putting Kent in the stocks and the escalating of Lear’s rage. As a whole, Kent seems only to work to the King’s detriment, and in the few opportunities when he could have set the story straight and helped out, he does nothing. One of these such opportunities is when Lear arrives at Gloucester’s castle after the swordfight, Kent does nothing to help calm down Lear’s rage (II.iv).
Kent’s actions also remain completely unjustified. The tragedy still plays out as expected, Lear still goes mad, and while Kent does help reunite the King and Cordelia, it still does not explain what he did earlier in the play.
The Reversal of Gender Roles
The main characters of Shakespeare’s King Lear are women. Usually, especially in Shakespeare’s works of literature, the antagonists and protagonists are male. The OED defines gender roles as “the role or behavior learned by a person as appropriate to their gender, determined by the prevailing cultural norms” (OED). This play takes a step back from those stereotypes and promotes women to the lead roles where they should’ve always been. Regan, Goneril, and Cordelia have very different roles in the play, where Regan and Goneril are villains while Cordelia is a hero kind of character, but they are all important to the theme nonetheless. Shakespeare illustrates women as being incapable of having power otherwise they will get sidetracked and their judgment will be corrupted by things that are considered to be “drama.” This chaos brings about their downfall and in this play specifically, Shakespeare makes the dispute about a man. Even with these offensive pieces of the story, Goneril and Regan still gain the power they were after.
Goneril is more or less the evilest of the sisters and will do anything to gain the power she is after. This includes poisoning her own sister and betraying her father. Goneril takes on this important role that men usually play. When a woman plays a part like this she is seen as sneaky and dramatic but when a man plays the part of a villain they are seen as misunderstood and determined. Goneril uses this ancient way of thinking and turns it around. She too can be the role of a villain and be viewed as an important part of the play. While she is still not a good person she is just as important as other villains, such as Edmund. Shakespeare tried to make a stereotypical story of women in power and their downfall but instead accidentally reversed the gender roles that have plagued literature for as long as anyone can remember.
The Negative Connotation of a Woman in Power
Throughout the unfolding story of King Lear, I could not help but favor Goneril. To me, she displays a confident character who makes choices for herself rather than cater to other men around her. Not only does she challenge her father’s leadership, but also goes against her husband’s wishes, and takes charge of her military.
A Common rebuttal would be that many of Goneril’s actions were to please Edmund, whom she acted romantic with throughout the play. At the end of the day, she isn’t doing this for Edmund but instead to be betrothed to him instead. Not only did Goneril promise Edmund status, who is a bastard and not born into power, but she also murdered her own sister because she was also in love with Edmund. Maybe Goneril was a favorite of mine because she was bold, I think it had more to do with her strive for power in a male-dominated society.
Unfortunately, Goneril is deemed an antagonist to the story because of her attempts to claim power. Deciding she is a villain is unfair to the circumstances she was placed in society due to her sex assigned at birth. Goneril did what was necessary for a woman in society at the time to obtain and maintain her power. The other characters and many other readers confuse an assertive woman as a villain with mal intent because society has an issue with women in power. This common narrative of women with power being slandered is happening in society today. While running for president, Hilary Clinton was heavily criticized for her views on feminism in America. Her thoughts and ideas scared the greater public because people confuse a woman in power with an antagonist solely based on the fear that women are held to higher standards than men are.
Although Goneril was made out to be the villain of the story, I think her efforts for power portray a strong woman who truly did what she wanted for her and not others. In my eyes, she serves as an example of the almost impossible standards women are held to compared to men and how hard it is to defy the perception of others when your capabilities are already decided based on your sex assigned at birth.
Parallels between Lear and Gloucester
In William Shakespeare’s King Lear, there are many parallels between Lear and Gloucester. Some significant and common occurrences in these parallels are the motifs of madness and blindness.
Both Lear and Gloucester misjudge their children and make huge sacrifices in order to eventually gain clarity. Gloucester can’t see which of his sons is truly good and loyal until he’s lost his vision. Similarly, it isn’t until Lear loses his power, respect, and eventually his sanity that he discovers it was actually Cordelia who loved him and it was Goneril and Regan who were out to get him.
There is a common irony in Lear and Gloucester’s storylines where they needed to lose their sight or mind to see or think clearly. It’s not until Lear and Gloucester lose physical clarity and coherence that they can both realize the mistakes and misjudgments they’ve made.
Additionally, Lear and Glocester mirror each other again just before each of their deaths. Just before Lear dies, his eyes stop working, and just before Gloucester dies, he wished that he’d go insane, thinking that would make dying easier.
These similarities, common motifs, and parallel plots serve to emphasize how greed and mistrust are harmful to authority, respect, and family dynamics.
Blindness in King Lear
Goneril in many ways resembles her father throughout the play. Parents often give their children their traits through generations and this is evident between Goneril and her father lear in “King Lear”. Goneril is the eldest and debatably the evilest of Lear’s daughters, as she declares her great love for Lear in exchange for a portion of her father’s kingdom. Throughout the play, Lear and Goneril are seen alike by means of the motif of blindness that links them together as a father and daughter. Primarily, Goneril is not literally blind and so does Lear, yet they are blinded by their actions and personalities.
“Sir, I love you more than words can wield the matter;
Dearer than eye-sight, space, and liberty;
Beyond what can be valued, rich or rare;
No less than life, with grace, health, beauty, honor;
As much as child e’er loved, or father found;
A love that makes breath poor, and speech unable;
Beyond all manner of so much, I love you. (I.I.55-61) (Goneril)”
The motif in this example and in Goneril’s example is literal than figurative. Goneril is expressing her false love for lear. Lear has asked his daughters to tell him how much they love him; whoever loves him most will receive the most share of the kingdom. Goneril’s exaggerated speech is false and unnatural. She compares her love for her father to eye-sight, something that should not have a value set in place.
This same exchange of love is where we see Lear’s act of blindness.
“Winter’s not gone yet, if the wild-geese fly that way.
Fathers that wear rags
Do make their children blind;
But fathers that bear bags
Shall see their children kind.
Fortune, that arrant whore,
Ne’er turns the key to the poor.
But, for all this, thou shalt have as many dolours
for thy daughters as thou canst tell in a year. (II.IV.52-60)(Fool)”
Now that Lear has given up the kingdom, Goneril and Regan do not care about him anymore. Before, when he had the kingdom, they told him lies about how they loved him. Since he has nothing, they do not care for him nor see him. He was blind to the fact that they tricked him into giving away the kingdom.
“I remember thine eyes well enough. Dost thou squiny
at me? No, do thy worst, blind Cupid! I’ll not
love. Read thou this challenge; mark but the
penning of it. (IV.VI.152-155) (Lear)”
Lear trusted his daughters with the kingdom and they betrayed him. Lear refers to Cupid as being blind, for falling in love with his unloyal daughters in the first place.
Similarities between Cordelia and Edmund
Edmund and Cordelia are two characters who occupy separate roles in the play but carry a lot of similarities. Relationships in King Lear focus around both good and evil as Cordelia and Edmund, perfect images of good and evil, struggle with sibling rivalry, betrayal, love triangles, and experience a tragic death. Both characters introduce chaos in the play as Cordelia refuses to fake the terms of her love for her father before Lear passes on the kingdom. On the other hand, Edmund unleashes chaos by choosing to act against his father who favors his half-brother, Edgar.
Sibling rivalry is a key problem that both Cordelia and Edmund deal with. Cordelia’s sisters, Goneril and Regan, plot against her and keep unloyal feelings against her throughout the play. Cordelia has to deal with her sisters’ evilness indirectly through the whole story. Similarly, Edmund and Edgar are brothers which have a bumpy relationship. They never get along because of power struggles and jealousy. Edmund purposes to outdo his brother believing that, “Edmund the base/ Shall top th legitimate” (Shakespeare Act I, Scene II). By the end of the play, the siblings unfortunately never figure it out. Both Cordelia and Edmund not only endure unsympathetic relationships between their siblings but also they are assassinated by them.
King Lear is a story filled with betrayal in which Cordelia and Edmund are involved. Cordelia faces the betrayal of her father and sisters, while Edmund betrays his father, his brother and his lover Regan. Betrayal at the end is the reason both end up dead. Cordelia dies because of the betrayal of her sister and brother in law and Edmund dies as a result of his own artful betrayals. Edgar correctly calls him, “thou art a traitor; False to thy gods, thy brother, and thy father; Conspirant gainst this high illustrious prince; A most toad-spotted traitor” (Shakespeare Act V, Scene III). He realizes that Edmund is a traitor who has neither faith nor truth in him. Conversely, Cordelia is very loyal and easily lends her affections to her family. She surrenders her stake in the kingdom to her sisters rather than giving in to the fake love. At the same time, her family takes advantage of her and does not realize how much she loves them. She is the definition of a selfless character, and Shakespeare shows the horror of true selfessness – the reality of being noble.
Edmund or Gloucester, Who is to Blame?
Throughout King Lear, Edmund, the illegitimate son of the Duke of Gloucester, is the main antagonist who tries to unravel his family and the rest of the kingdom in order to gain power. But Edmund is not entirely at fault for this. Edmund is mistreated by his father on numerous occasions throughout the play. In act 1 scene he is publicly referred to as a “Knave” and a “Whoreson”, on top of the fact that he is not able to receive any inheritance from his father.
While Edmunds actions in the last act of the play cannot be dismissed in any way shape or form, it is not his fault for being in that situation. Due to the constant humiliation and lack of upward mobility in the kingdom it is only natural for Edmund to try and work around the “Laws” to better himself. Edmund has no other choice but to be deceitful in his attempt to gain power. However the same cannot be said for, his father, Gloucester. All of Edmund’s problems stem from Gloucester, and all of these problems could be avoided.
First of all Edmund being illegitimate, a bastard, born out of wedlock, etc is not his fault at all. It was due to Gloucester’s unfaithful actions that Edmund was born a bastard, so why should Edmund have to live with the consequences of something that he cannot control.
Secondly Edmund’s treatment is what prompted him to commit crimes and undermine his father. Edmund did not choose to be treated this way, but Gloucester chose to treat him poorly.
Since Gloucester brought about these circumstances (which could have been easily avoided), some blame can reasonably be shifted away from Edmund and onto Gloucester. While this does not excuse edmunds treasonous actions against Lear and Cordelia, not all of the blame should be on Edmund.
“The Taming of the Shrew”
Although Shakespeare often shows women with power, it’s typically in a very unflattering and misogynistic light. For example, in the Tragedy of King Lear, Goneril and Regan get their power from deception and ambition. The exact opposite values that men of power are supposed to show. Cordelia, the only honorable woman, ended up without a home and essentially forgotten about by her sisters and her father.
Likewise, in the movie Ran by Akira Kurosawa, the women control the sons and get them to fight against their father. In one particular scene in the movie, Taro’s wife (Lady Kaede) is able to successfully convince him to take over the entire Ichimonji clan. Lady Kaede is the most prominent female character and while she has wonderful characteristics, like intelligence, her most powerful attributes seem to be the ones that allow her to fully run the kingdom down and create utter chaos.
In both stories, the most powerful man, Hidetora and Lear, are treated sympathetically despite their actions and madness, while the women, with the exception of Cordelia, have few redeeming qualities. Also, both stories show the downfall of the kingdom when the women are given their first glance at power. In King Lear, it occurred when his daughter obtained their land, and in Ran, it happened when the sons got married and their wives started demanding things.
Shakespeare often explores power and ambition in women in his works, such as: Hamlet, Macbeth, Romeo and Juliet, and King Lear, however, like “The Taming of the Shrew”, the depiction is often of a small, disagreeably, aggressive, sneaky character like a shrew.
Edmund: Accepting the Unacceptable
Throughout every part of Edmunds’s life, Edmund is treated as either a monster, an outcast, or a joke by his father. His father views him as not a legitimate son and instead as a burden or consequence of a mistake. Gloucester’s feelings toward Edmund are immediately shown in the first scene of the play.
But I have, sir, a son by order of law, some year
elder than this, who yet is no dearer in my account:
though this knave came something saucily into the
world before he was sent for, yet was his mother
fair; there was good sport at his making, and the
The unacceptance is very public to the point where his father shows no shame in expressing it. This cuts off any sort of fuel for Edmund to want to receive any acceptance from Gloucester. Edmund, however, is human and all humans have a need to receive acceptance from others. This causes Edmund to pursue acceptance from the citizens of the land that his father controls. This is very much expressed in the famous monologue.
Legitimate Edgar, I must have your land:
Our father’s love is to the bastard Edmund
As to the legitimate: fine word,–legitimate!
Well, my legitimate, if this letter speed,
And my invention thrive, Edmund the base
Shall top the legitimate. I grow; I prosper:
He does in the end receive this acceptance which is absolutely great for him, but it does not replace the acceptance that he would have received from his father. Nothing is equivalent to the love of a parent and when Edmund doesn’t receive that love and acceptance, he begins on a neverending quest to receive it from as many people outside of his family as possible. This leads to him pursuing both Reagan and Goneril. This quest for acceptance leads to his downfall as he is later found by the people who would not accept him whom he betrayed. | https://storypower.criticsandbuilders.com/2022/02/11/ |
"King Lear is not a nice guy," Stacy Keach says. "To play him as nice is a mistake." Keach is talking about Lear because, at the Goodman Theatre in Chicago this month, he is portraying what is perhaps William Shakespeare's greatest character in what is perhaps Shakespeare's greatest play (Hamlet notwithstanding).
"Lear is a tyrant," Keach continues. And that's one reason, he says, this King Lear is set in the Eastern Europe of the 1940's and 50's — "“to suggest Tito, Stalin, Hitler, Lenin, Ceacescu of Romania — tyrants spoiled by power and their hunger for power." The director is Robert Falls, who is celebrating his 20th anniversary as the Goodman's artistic director. Falls also directed this year's Tony-nominated play Shining City on Broadway and won a Tony as Best Director for the 1999 revival of Death of a Salesman.
Keach has played many of Shakespeare's great roles, including Hamlet, Richard III, Falstaff, Coriolanus, Macbeth and Henry V. (He is also known for his portrayal of Mickey Spillane's noir detective Mike Hammer on TV in the 80's, and as Warden Henry Pope on the current TV series "Prison Break.") But the question is, why Lear, and why now?
"I figured I’d better do Lear before I get too old, so I can still move up the mountain," Keach says. "I think the role of Lear is always sitting there, waiting to be addressed, and attacked, and absorbed into the actor's psyche, the actor's soul. I always equate it with a mountain because it probably provides more challenges, both emotionally and physically, than do most all of Shakespeare's roles. It poses challenges that modern theatrical roles don't possess — the concentration, the physical prowess, the stamina. It's like Hamlet, only the older version."
Lear, Keach says, "makes a foolish choice — dividing his kingdom among his daughters based on vanity. He is basically a victim of the sin of pride, and he suffers the consequences of that bad decision." Lear's realization that he has done "wrong" comes very early in the play, Keach says. "The fact that he loses his grasp on reality and enters his own world of madness is emotionally challenging because it poses the problem for an actor of getting rid of all your preconceptions about how you're going to play any given moment."
It all has to flow from the subconscious, he says. "I think it's important to allow the character to play you. You have to be one with the character — you don't think about the lines, and the behaviors flow from you. That takes a lot of work. You first have to know the lines, the music — you have to know the music before you can understand how to play the role."
Lear, he says, "really touches the full range of human experience — love and hate, fear and guilt, self-deception, defensiveness. The storm inside him becomes the storm outside. And, of course, he's also a tyrant. I think that one of the great errors is to try to justify his actions, to make a moral judgment about his actions, rather than to play the fullness of his emotional stupidity."
It is perhaps the ultimate role, but are there any other Shakespearean characters Keach hasn't played that he would love to take on? "There's Prospero in The Tempest," he says. "And there's Iago in Othello. I've always wanted to play Iago. I love that character. I think he is one of the most brilliant creations of evil." | http://www.playbill.com/article/keachs-lear-com-134606 |
Spitting, hollow-eyed and gently descending into madness, Hopkins brings us 80 year-old King Lear the moment he decides to divide his kingdom between his daughters Goneril (Emma Thompson) Regan (Emily Watson) and Cordelia (Florence Pugh) based on how much affection they have for him.
Cordelia refuses to embellish the purity of her love for him, and is banished. Goneril and Regan, finding themselves more powerful than before, expel their ageing father just as Lear's Prime Minister Gloucester (Jim Broadbent) is himself betrayed by his children and forced into hiding.
Early previews of this TV film show a cast who roars and rages as King Lear becomes mad, in a forceful adaptation that updates this Shakespearian play with modern staging and twenty-first century military garb. | https://www.culturewhisper.com/r/tv/king_lear_bbc_two/11588 |
The ALMA and APEX telescopes have peered deep into space — back to the time when the Universe was one tenth of its current age — and witnessed the beginnings of gargantuan cosmic pileups: the impending collisions of young, starburst galaxies. Astronomers thought that these events occurred around three billion years after the Big Bang, so they were surprised when the new observations revealed them happening when the Universe was only half that age! These ancient systems of galaxies are thought to be building the most massive structures in the known Universe: galaxy clusters.
Using the Atacama Large Millimeter/submillimeter Array (ALMA) and the Atacama Pathfinder Experiment (APEX), two international teams of scientists led by Tim Miller from Dalhousie University in Canada and Yale University in the US and Iván Oteo from the University of Edinburgh, United Kingdom, have uncovered startlingly dense concentrations of galaxies that are poised to merge, forming the cores of what will eventually become colossal galaxy clusters.
Peering 90% of the way across the observable Universe, the Miller team observed a galaxy protocluster named SPT2349-56. The light from this object began travelling to us when the Universe was about a tenth of its current age.
The individual galaxies in this dense cosmic pileup are starburst galaxies and the concentration of vigorous star formation in such a compact region makes this by far the most active region ever observed in the young Universe. Thousands of stars are born there every year, compared to just one in our own Milky Way.
The Oteo team discovered a similar megamerger formed by ten dusty star-forming galaxies, nicknamed a “dusty red core” because of its very red color, by combining observations from ALMA and the APEX.
Iván Oteo explains why these objects are unexpected: “The lifetime of dusty starbursts is thought to be relatively short, because they consume their gas at an extraordinary rate. At any time, in any corner of the Universe, these galaxies are usually in the minority. So, finding numerous dusty starbursts shining at the same time like this is very puzzling, and something that we still need to understand.”
These forming galaxy clusters were first spotted as faint smudges of light, using the South Pole Telescope and the Herschel Space Observatory. Subsequent ALMA and APEX observations showed that they had unusual structure and confirmed that their light originated much earlier than expected — only 1.5 billion years after the Big Bang.
The new high-resolution ALMA observations finally revealed that the two faint glows are not single objects, but are actually composed of fourteen and ten individual massive galaxies respectively, each within a radius comparable to the distance between the Milky Way and the neighboring Magellanic Clouds.
This artist’s impression video shows a group of interacting and merging galaxies in the early Universe. Such mergers have been spotted using the ALMA and APEX telescopes and represent the formation of galaxies clusters, the most massive objects in the modern Universe. Astronomers thought that these events occurred around three billion years after the Big Bang, so they were surprised when the new observations revealed them happening when the Universe was only half that age! Credit: ESO/M. Kornmesser
“These discoveries by ALMA are only the tip of the iceberg. Additional observations with the APEX telescope show that the real number of star-forming galaxies is likely even three times higher. Ongoing observations with the MUSE instrument on ESO’s VLT are also identifying additional galaxies,” comments Carlos De Breuck, ESO astronomer.
Current theoretical and computer models suggest that protoclusters as massive as these should have taken much longer to evolve. By using data from ALMA, with its superior resolution and sensitivity, as input to sophisticated computer simulations, the researchers are able to study cluster formation less than 1.5 billion years after the Big Bang.
“How this assembly of galaxies got so big so fast is a mystery. It wasn’t built up gradually over billions of years, as astronomers might expect. This discovery provides a great opportunity to study how massive galaxies came together to build enormous galaxy clusters,” says Tim Miller, a PhD candidate at Yale University and lead author of one of the papers.
This research was presented in two papers, “The Formation of a Massive Galaxy Cluster Core at z = 4.3,” by T. Miller et al., to appear in the journal Nature, and “An Extreme Proto-cluster of Luminous Dusty Starbursts in the Early Universe,” by I. Oteo et al., which appeared in the Astrophysical Journal. | https://scitechdaily.com/alma-and-apex-discover-ancient-galaxy-megamerger/ |
University of Hawaii at Manoa astronomer David Sanders is one of a group of scientists who have combined observations made with the Hubble Space Telescope, the Spitzer and Herschel infrared space telescopes, and ground-based telescopes in Hawaii to assemble a coherent picture of the formation history of the most massive galaxies in the universe, from their initial burst of violent star formation through their appearance as high stellar-density galaxy cores and to their ultimate destiny as giant ellipticals.
This solves a decade-long mystery as to how compact elliptical-shaped galaxies that existed when the universe was only 3 billion years old, or one-quarter of its current age of 13.8 billion years, already had completed star formation. These compact ellipticals have now been definitively linked directly to an earlier population of dusty starburst galaxies that voraciously used up available gas for star formation very quickly. Then they grew slowly through merging as the star formation in them was quenched, and they eventually became giant elliptical galaxies.
“This is the first time anybody has put together a representative spectroscopic sample of ultra-compact, burned-out galaxies with the high quality of infrared imaging of Hubble,” said Sune Toft (Dark Cosmology Center at the Niels Bohr Institute in Copenhagen), the lead investigator for the project who is currently on a six-week visit to the UH Institute for Astronomy in Honolulu.
“We at last show how these compact galaxies can form, how it happened, and when it happened,” Toft added. “This basically is the missing piece in the understanding of how the most massive galaxies formed, and how they evolved into the giant ellipticals of today. This had been a great mystery for many years because just 3 billion years after the big bang we see that half of the most massive galaxies have already completed their star formation.”
Even more surprising, said Toft, is that these massive, burned-out galaxies were once extremely compact, compared to similar elliptical galaxies seen today in the nearby universe. This means that stars had to be crammed together 10 to 100 times more densely than seen in galaxies today. “It’s comparable to the densities of stars in globular clusters, but on the larger scale of a galaxy,” said Toft.
In tying together an evolutionary sequence for these compact massive galaxies, Toft identified their progenitors as highly dust-obscured galaxies undergoing rapid star formation at rates that are thousands of times faster than in our Milky Way galaxy. Starbursts in these galaxies are likely ignited when two gas-rich galaxies collided. These galaxies are so dusty that they are almost invisible at optical wavelengths, but are bright at submillimeter wavelengths, where they were first identified nearly two decades ago by the SCUBA (Submillimeter Common-User Bolometer Array) camera on the James Clerk Maxwell Telescope in Hawaii.
Toft’s team assembled, for the first time, representative samples of the two galaxy populations using the rich dataset in Hubble’s COSMOS (Cosmic Evolution Survey) program.
They constructed the first representative sample of compact quiescent galaxies with accurate sizes and distances (spectroscopic redshifts) measured from the Hubble Space Telescope’s CANDELS (Cosmic Assembly Near-Infrared Deep Extragalactic Legacy Survey) and 3D-HST programs. 3D-HST is a near-infrared Hubble spectroscopic survey to study the physical processes that shape galaxies in the distant universe. The astronomers combined these data with observations from the Subaru telescope in Hawaii and NASA’s Spitzer Space Telescope. This allowed for accurate stellar age estimates, from which they concluded that galaxies formed in intense starbursts 1 billion to 2 billion years earlier, in the very early universe.
The team then made the first representative sample of the most distant submillimeter galaxies using the rich COSMOS data from the Hubble, Spitzer, and Herschel space telescopes, and ground-based telescopes such as Subaru, the James Clerk Maxwell Telescope, and the Submillimeter Array. This multi-spectral information, stretching from optical light through submillimeter wavelengths, yielded a full suite of information about the sizes, stellar masses, star-formation rates, dust content, and precise distances of the dust-enshrouded galaxies present early on in the universe.
When Toft’s team compared the samples of these two galaxy populations, they discovered a link between the compact elliptical galaxies and the submillimeter galaxies observed 1 billion to 2 billion years earlier. The observations show that the violent starburst activity in the earlier galaxies had the same characteristics that would have been predicted for progenitors to the compact elliptical galaxies. The team also calculated that the intense starburst activity only lasted about 40 million years before the interstellar gas supply was exhausted.
The paper detailing these results, “Submillimeter Galaxies as Progenitors of Compact Quiescent Galaxies,” is being published today in the Astrophysical Journal (http://iopscience.iop.org/0004-637X/782/2/68/article) and is also available on the arXiv preprint server at http://arxiv.org/pdf/1401.1510v1.pdf. | http://manoa.hawaii.edu/kaunana/uh-astronomer-helps-solve-massive-galaxy-mystery/ |
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