Steps to take if you havent gotten a job

Introduction In today’s world, both the young and the old individuals find themselves jobless especially during current economic downturns. For such jobless people, job hunting is on top of their list of priorities. In order to be effective in job seeking, the job hunters are required to use proper strategies to enable them to increase their chances of securing a job.Advertising We will write a custom essay sample on Steps to take if you haven’t gotten a job specifically for you for only $16.05 $11/page Learn More The most successful job hunters do not wait for jobs to be available instead they are proactive in ensuring that they track down the best opportunities. This paper analyses the steps that a job seeker should consider in order to increase their chances of ultimately acquiring a job. Steps in job hunting There are many steps that a job hunter can use to find the right opportunities in securing a dream job. Networking is one of the s teps where contacts are acquired through business and social functions in order to help the job seeker in the job hunting process. A job seeker can start developing a network through close people like family, friends and neighbors, who might help them find a job or point them in the right direction. The second important strategy in job hunting is the thorough review of one’s resume and cover letter. The resume and cover letter should be written professionally in order to stand out from the rest. To ensure that these documents stand out, the hunter should seek the services of a professional writer for quality work. Thirdly, a conversation with counselors in different careers can help in providing the right referrals and resources to aid in the management of careers. The counselor can also help the job seeker emotionally get through a long period of unemployment that might interfere with job searching efforts. Fourthly, doing thorough research on the labor market and employers is a very important step in determining the success of job hunting. The research ensures that the job seeker’s resume and cover letter meet the professional needs of employers in order to put them in a better position to compete with other job seekers. Fifthly, doing voluntary work is also a plus in the process of job hunting. The job hunter should be willing to ask for work in a reputable organization and expect no pay in return. Volunteering helps one showcase their skills and talents to the potential employers, which in turn enable them to be considered for recruitment.Advertising Looking for essay on business economics? Let's see if we can help you! Get your first paper with 15% OFF Learn More Furthermore, pursuing additional training is also a very important step that job seekers can take to increase their chances of securing a good job. In order for one to get their dream job, study advancement is more likely to help in strengthening the job hunterâ€℠¢s qualifications and set them apart from the rest of the job seekers . Conclusion Job hunting is not an easy task and many people tend to give up too soon. The process requires a lot of intelligence in gathering information about the targeted career sector. Knowing a particular job in its sector enables the job seeker to easily convince a potential employer that they have the right qualities, experience and qualifications to handle the responsibilities of a given job. It is evident that a job seeker should be strategically prepared for the long and tiring process of job hunting in order to gain positive feedback. Reference List Jones, L. (2002, April). Ten steps to follow if you haven’t gotten a job. Web. This essay on Steps to take if you haven’t gotten a job was written and submitted by user Johnathan Knight to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

Soundtrack to the Graduate essays

Soundtrack to the Graduate essays The sound track and the image track in The Graduate do well to complement each other. Music, dialogue, and sound effects add to the mood, and set the tone of any given scene. The often indistinct main character, Benjamin Braddock, is handled many different ways by sound throughout the picture. The ways in which he interacts with people and his environment is shaped by the sound track. As the film opens, Simon and Garfunkle'sThe Sound of Silence? is heard as Benjamin departs the airport. This song is refrained several times throughout the movie. It seems that when Ben is alone and reflecting, this song establishes a sort of clarity within him. He is still very much confused at these points, but at least he has a momentary clear mind. The song itself is rather somber and cryptic, as Ben is at a puzzling and arduous time in his life. The next sound heard immediately after the 'sound of silence? theme is the bubbling and splashing of Ben's fish tank. Ben is positioned in front of the tank, and it seems that Ben is entrapped within the tank. The same aquatic noises are heard as Ben samples his new scuba gear. Ben is immersed in his surroundings, just as the fish are. During Mrs. Robinson's seduction of Ben, she plays a saucy Latin song on the radio. This action shows that she is very much in control of the situation and of the mood in the room. The song choice is obvious to depict the sultry disposition of Mrs. Robinson. Later on, when a topless Mrs. Robinson corners Ben, they?re speech runs together as a twisting philharmonic sound blurs even further. In this very awkward moment, all logical sound is blurred. It perfectly matches the look on Ben's face. When the tables are turned, and Ben is in the driver's seat, the audio track sounds completely different. Ben is overwhelmingly nervous as he scampers around the hotel lobby. His dialogue is jumpy, and also, curious noises arise from his throat as he paces arou...

Building Tension Skills For Crafting Suspense In Your Story - Freewrite Store

Building Tension Skills For Crafting Suspense In Your Story - Freewrite Store Mastering your craft as a writer - especially as a fiction writer - can take years. That’s the bad news. The good news is that you can be proactive in getting to grips with the skills and techniques you need to take your writing from mediocre to masterful. One of the most foundational skills you need to comprehend is that of creating tension (or suspense) in your stories. Why Suspense Matters Suspense is an essential ingredient in fiction. It’s what keeps your readers turning the page long after they’ve declared that they’ll ‘read just one more page before I put the light out’. Without tension and suspense, your story is flat and lifeless. When I first started out as a self-proclaimed fiction writer, I didn’t understand suspense at all. I thought that suspense fiction was a genre all of its own, and so I didn’t realize how important it was to my stories. Suspense matters. You can’t write a great story without it. Unfortunately, writing scenes full of suspense and tension can be tricky. You have to learn about the right balance (otherwise known as pacing) and understand the different techniques you can use to create tension. Authors who rely too much on just one or two tension-building techniques suffer from the unfortunate problem of creating ‘predictable tension’. You might get away with that in one book, but if you build a following of fans, you’ll soon find that they get wise to your predictable tension techniques, so your writing loses much of its suspense. You want to keep your readers gripped, which means you need a whole arsenal of tension techniques that you can mix up in your writing to avoid the death-knell of predictability. I’m going to teach you three essential suspense skills you need to write unputdownable fiction. #1. Create Crucial Conflict Conflict is one of the key ingredients of suspenseful writing. Conflict automatically creates tension in scenes, so naturally, it’s an author’s best friend. What makes conflict even more important is its versatility. There are different types of conflict too. For example: Character versus nature (e.g. when a character faces some kind of natural disaster) Character versus self (e.g. a character who has some kind of internal struggle to deal with) Character versus society (e.g. characters pitted against an oppressive government regime, or a character that’s part of a minority group who struggles with marginalization) Character versus character - relational type (e.g. unrequited love or some kind of drama within a family) Character versus character - hero/villain type (e.g. the traditional good-guy versus bad-guy situation) Character versus technology (e.g. science fiction scenarios where technology is the antagonist) Character versus the supernatural (e.g. scenarios where characters are faced with battles against prophecies about their own fate) As you can see from this list of conflict types, conflict in fiction is always rooted in characters - the conflict is between the character and something else. If you try to create conflict by any other means, your story will fall flat, unfortunately. At its heart, conflict is about something keeping your character(s) from their goals. That means that you need to know - and make clear to your readers - what your characters’ goals are. Without this fundamental first step, you can’t create the tension you need to create a gripping story. Spend some time brainstorming your character’s goals and the types of conflict that might keep them from achieving those goals. Pick two or three scenarios out of your brainstorming session and write a scene for each where your character is pitted against the literal or figurative nemesis to their goal. Creating conflict is a skill you need to practice until it becomes an automatic part of writing. Don’t just practice when you’re writing your novel, either. Honing your craft as a writer means spending time developing your skills before you sit down to write your masterpiece. Here’s some prompts you might want to try: Davy is about to leave the house and embark on a trip when an unexpected guest arrives†¦ Allison has planned the speech she’s going to make to break up with Drew, but then, just as she’s about to open her mouth, Drew gets down on one knee and proposes†¦ Craig has just accepted a place at CalTec when a news story breaks that threatens his entire future†¦ Becca is hiking in the mountains alone, trying to come to terms with something that’s happened, when a fierce storm unexpectedly hits. #2. Raise the Stakes You know your characters, you know their goals - but your goal as a writer is to keep your characters from achieving their goals (at least until you’re ready for the climax of your story). One thing that startled me when I started writing full time was how much I came to sympathize with my protagonists, so much so that I felt bad for pitting them against so many obstacles to keep them from their goals. You can’t afford to let sentimentality get in the way of your tension-creating skills. I learned that the hard way. One of the most effective ways of creating tension in your writing is to keep raising the stakes. This means that the more your characters fight against the things opposing their goals, the further away they seem from achieving their goals. There’s a range of ways you can raise the stakes in your novel - but before you get to writing your story for real, try practicing these different stake-raising techniques: The Ticking Clock Nothing raises the stakes more than a time limit. In practice, that means that you give your character a goal that has to be achieved in a certain time frame. The reason why the limit is there is up to you. When you use this technique, every time your character makes a failed attempt to overcome the obstacle in their way, the more aware the reader becomes of how little time is left. It keeps your readers gripped. The Fun-House Floor If you’ve never been in a fun-house, this won’t mean anything to you, so I’ll explain. In a fun-house there is often a section made up of platforms that move up and down and side to side, making it really difficult to cross to the other side. In fiction, the fun-house floor technique introduces change and uncertainty for your character, unbalancing them and making them (and your reader) wonder how to move forward. There’s plenty of things you can introduce to create uncertainty - the death of a loved one, the revelation of a secret, the loss of a job. The Shock Revelation To use this technique effectively, you need to understand foreshadowing (you can check out my guide to using foreshadowing if you want to brush up on those skills). Making a shock revelation is a great way of raising the stakes - as long as you ensure that it’s a revelation that in some way keeps your character from their goals. You can’t just dump a shock revelation into your story, however. It needs to be set up (using foreshadowing - but carefully) so that your readers get the ‘ah-ha’ moment. Chucking in a revelation that you haven’t hinted subtly at using foreshadowing isn’t going to make your readers happy. It can be a shock to your character, but your readers might already have their suspicions. Practicing Raising the Stakes Use these prompts to practice your stake-raising skills: Amelia’s nephew has gone missing while she was taking care of him, and his parents are due home in 36 hours†¦ The deadline is in three days... Juan has just 24 hours to gather evidence to prove that his partner is innocent of the murder†¦ Carrie receives an anonymous letter with the words â€Å"I know what you did† on it... Ethan’s secret is out†¦ Michael’s uncle dies suddenly†¦ Stefan has just paid the deposit on his condo when his boss fires him... #3. Partner Tension With Pacing When I realized that my fiction was missing tension, I kinda went to the extreme with it, and tried to throw tension into every scene, every conversation, every moment my characters took to think†¦ It wasn’t pretty. It was the precise opposite of pretty. When you’re working with tension and suspense, you need to have a balance. That’s where pacing comes in. Pacing gives your characters (and your readers) time to breathe between intense scenes filled with tension. You can’t have your character going from tension-filled-scene to tension-filled-scene without having some kind of ‘normality’ in-between. That’s not how real life works, and it doesn’t work in fiction, either. Understanding pacing creates a more realistic flow to your fiction, which is why it’s important you learn to pace your writing in parallel with tension. There are two types of pacing - fast pacing and slow pacing. Let’s take a look at them and see how you can partner pacing with tension for fabulous fiction. Fast Pacing Essentially, fast pacing is where most of your tension lives. These scenes carry urgency and spend less time on unnecessary details. When you’re writing these kinds of scenes, you want your writing to be punchy to reflect the pace. This is not the place for long descriptions or explanations. Fast pacing works by building tension to a crescendo. These are the scenes that will keep your reader urgently turning the pages to find out what happens. Slow Pacing To give your character a breather, slow pacing after a particularly tense scene works really well. Here’s where you can focus on the details, explore your character’s psyche and begin to build up towards the next tense scene. Slow pacing can be filled with emotion or packed with emotive and atmospheric details. You can still add tension in these slower scenes, but you’ll do it differently. In slow-paced scenes, you’re not using action to create tension, but rather focusing on building tension with atmospheric details. This works particularly well in thrillers or horror fiction, where things like the rustling of leaves or footsteps on the pavement can create suspense. Some slow-paced scenes are pretty identical to ordinary, non-tension-filled scenes, so if you can write an ordinary scene, then you can write one of these. Writing slow-paced atmospheric scenes with undercurrents of more gentle tension, however, take a bit more practice. Here are some prompts you can try out: Describe the shadows in the room The light flickers†¦ Phoenix is sitting in the basement. Describe the atmosphere†¦ Sam is taking a walk to clear his head. He heads into the forest, his favorite place in the world. Describe the sounds, smells, sights. Then, there’s the crack of a twig†¦ Making Tension Come Naturally You can’t write fiction without tension, so if writing is your passion, then you have to master the art of creating both fast-paced and slow-paced tension. For most people, this takes time and patience before you get it right - but once you do, you’ll find that it soon starts to come naturally, and you’ll find yourself putting just the right amount of tension into your scenes without having to consciously think about how you’re going to do it. The more you practice, the easier it becomes!

Business 4 Essay Example | Topics and Well Written Essays - 500 words

Business 4 - Essay Example The article also notes that key to using all the above powers is by sing them ethnically. This means that carefully applicability of powers where is does not oppress the powerless is welcome. Similarly, the article notes that personal power is negative while social power is positive. This implies that exercising individual power does not do good to serve the interest of the followers but instead portray those in power as authoritative and serving self-interest. Hence, those who best enjoy the power are those with social power. It works in favor of the followers contrary to satisfying the individual interest. The negativity of the personal power comes because it serves the interest of the holder at the expense of the majority. Because of all these, the article notes that power has a role to play in aligning the followers towards the mission they are expected to accomplish. Hence, the functional power sources includes control of critical resources as well as strategic contingencies. Moreover, the article shows that recognizing the symbols of both power and powerless is essential in diagnostic skills for managers. As a manager, one is expected to pay attentive to the subordinate or the followers by understanding their needs. This is important because it eases the administration duties and leading the mass. Similarly, recognizing followers and understanding their needs helps in building political skills that a leader or the person in power can use towards influencing them. Additionally, most organizations striving to excel have organizational politics that have become part of work life. Some portray political behaviors, which comprises of actions not sanctioned to influence others for personal goals. Therefore, it is the duty of a manager-to-manage organizational politics so that it does not derail the good work done by others who are focused and

Using examples, examine the connections between gender, fear and urban Essay

Using examples, examine the connections between gender, fear and urban space - Essay Example While there are men who have small physical builds in comparison to other men, it is more likely to find a man with a build larger than a woman’s than to find the opposite scenario. Given this difference it is clear that, generally, women face a set of obstacles that most men will not have to ever experience. On the other hand, because of seeming biologically driven needs to defend one’s space, men are often faced with challenges that, similarly, women will unlikely ever have to face. Thus, as distinct as each gender’s biological makeup creates them to be, so too are the vast differences between the obstacles they must face. These differing gender fear invoking issues will be examined within the context of urban space. The urban environment can pose many stress inducing variables for any individual despite gender. Crime, natural disasters, and other such factors create a spectrum of varying fear and anxiety inducing possibilities for both men and women on a daily basis. Needing to be extra careful with personal possessions in public arenas and making sure to be respectful of an individual’s space are added factors that become automatic parts of one’s thought process while living in an urban environment. While both genders must face many similar urban space stressors, the differences begin to come to play when situations become more dependent on a person’s gender versus, for instance, specific environmental weather factors. For women, urban life poses specific problems due to biological factors. Because women are generally smaller and physically weaker than men, women must take this into account when they travel alone or even with other women to specific urban destinations. â€Å"Fear leads women to take precautions which are often spatial, such as avoiding certain parts of the city or not going out after dark† (Koskela, 1999, pp. 111). In other words, the reality

Assessment Of For And As Learning Essay Example for Free

Assessment Of For And As Learning Essay Assessment of learning refers to strategies designed to confirm what students know, demonstrate whether or not they have met curriculum outcomes or the goals of their individualized programs, or to certify proficiency and make decisions about students’ future programs or placements. It is designed to provide evidence of achievement to parents, other educators, the students themselves, and sometimes to outside groups (e. g. , employers, other educational institutions). Assessment of learning is the assessment that becomes public and results in statements or symbols about how well students are learning. It often contributes to pivotal decisions that will affect students’ futures. It is important, then, that the underlying logic and measurement of assessment of learning be credible and defensible. Teachers’ Roles in Assessment of Learning Because the consequences of assessment of learning are often far-reaching and affect students seriously, teachers have the responsibility of reporting student learning accurately and fairly, based on evidence obtained from a variety of contexts and applications. Effective assessment of learning requires that teachers provide  ?a rationale for undertaking a particular assessment of learning at a particular point in time ?clear descriptions of the intended learning ?processes that make it possible for students to demonstrate their competence and skill ?a range of alternative mechanisms for assessing the same outcomes ?public and defensible reference points for making judgments ? Transparent approaches to interpretation ?descriptions of the assessment process ?strategies for recourse in the event of disagreement about the decisions With the help of their teachers, students can look forward to assessment of learning tasks as  occasions to show their competence, as well as the depth and breadth of their learning. ASSESSMENT FOR LEARNING Assessment for learning focuses on engaging students in classroom assessment in support of their own learning and informing teachers about what to do next to help students to progress. Assessment for learning is assessment for improvement not assessment for accountability as can be the case with summative assessments (Stiggins, 2002). The keys to Assessment for Learning (AFL) is to use a variety of assessment tools and methods in order to provide ongoing evidence to students, teachers and parents that demonstrates how  well each student is mastering the identified outcomes. This evidence is used to provide descriptive feedback to the students and to enable the teacher to differentiate the instruction to meet the needs of individual students or groups. ASSESSMENT FOR LEARNING VS. ASSESSMENT OF LEARNING Gregory, Cameron, and Davies (1997) outline some distinct differences between Assessment for Learning and Assessment of Learning. Educators are using these terms to help distinguish between the teachers role as a learning coach versus the teachers role of judging the extent of a students achievement in relation to an established standard. This assessment is considered summative and is done at the end. 1. Assessment for learning is the big deal, while assessment of learning is the done deal. 2. Assessment for learning is formative, while assessment of learning is summative. 3. Assessment for learning is supportive, while assessment of learning measures. 4. Assessment for learning uses descriptions, while assessment of learning uses scores. 5. Assessment for learning happens day by day, moment by moment, while assessment of learning happens at the end. The assertion is that neither one is better than the other, but both need to be used within a  students learning so that the student is able to understand not only the work that is being asked of them, but also how their own learning occurs. Assessment for learning is intended to be both diagnostic and formative to help students improve their learning. Four critical questions that the teacher must ask when planning for assessment for learning: WHY AM I ASSESSING? If the intent of assessment is to enhance student learning teachers use assessment for learning to uncover what students believe to be true and to learn more about the connections students are making, their prior knowledge, preconceptions, gaps, and learning styles. This information is used to inform and differntiate instruction to build on what students already know and to challenge students when their are problems inhibiting progression to the next stages of learning. Teachers use this information to provide their students with descriptive feedback that will further their learning and not as a sumamtive assessment or to report a grade. WHAT AM I ASSESSING? Assessment for learning requires ongoing assessment of the outcomes that comprise the intended learning. In most cases these are the curriculum outcomes. Teachers create assessments that will  expose students’ thinking and skills in relation to the intended learning, and the common preconceptions. WHAT ASSESSMENT METHOD SHOULD I USE? When planning assessment for learning, the teacher must think about what assessment is designed to expose, and must decide which assessment approaches are most likely to give detailed information about what each student is thinking and learning. The methods need to incorporate a variety of ways for students to demonstrate their learning. For example, having students complete tasks orally or through visual representation allow those who are struggling  with reading or writing to demonstrate their learning. HOW CAN I USE THE INFORMA%ON? The information collected in assessment for learning is used to report to the student and by offering descriptive, on time feedback and to provide the teacher with information to allow for changes in instruction for individual students or groups of students. ASSESSMENT AS LEARNING Assessment as learning occurs when students are their own assessors. Students monitor their own learning, ask questions and use a range of strategies to decide what they know and can do, and  how to use assessment for new learning. Assessment as learning: ?encourages students to take responsibility for their own learning ?requires students to ask questions about their learning ?involves teachers and students creating learning goals to encourage growth and development ?provides ways for students to use formal and informal feedback and self-assessment to help them understand the next steps in learning ?encourages peer assessment, self-assessment and reflection. ROLES This assessment model supports the view of today’s learners as actively involved in the learning process. Students are educated on the purpose of assignments and the outcomes they are trying to achieve. Hence the teacher and the student both have critical roles in understanding learning outcomes and modifying learning in Assessment as Learning. Teacher Ensuring assessment methods are appropriate and the purpose is clear to students ensures quality and fair assessment practices as per the Principles for Fair Student Assessment in Canada (1993). Beyond choosing the learning outcomes to be covered, the activities to follow and the assessment methods, in Assessment as Learning, the teacher engages the students in this process. In Assessment as Learning, the teacher is a guide, â€Å"Giving them [students] the tools to undertake their own learning wisely and well. † (WNCP, p. 42) Students learn to monitor their own learning and make adaptations as required. In addition to monitoring learning and guiding instruction through assessment for learning, the teacher is assessing the students’ ability to assess themselves as they learn how to assess their own learning. Teachers can follow the following model in order to practice Assessment as Learning in their classroom: (adapted from WNCP, p. 42-43) 1. Discuss the learning outcomes with the students. 2. Create criteria with the students for the various tasks that need to be completed and/or skills that need to be learned or mastered 3. Provide feedback to students as they learn and ask them guiding questions to help them monitor their own learning 4. Help them set goals to extend or support their learning as needed in order to meet or fully meet the expectations 5. Provide reference points and examples for the learning outcomes Teachers are also responsible for ensuring that students have a learning environment in which they feel comfortable and safe to learn as well as have ample time to practise what is being  taught. Student Beyond completing the tasks assigned to them by their teacher, students move from the passive learner to an active owner of their own learning. Initially, with teacher guidance and tools, students learn to monitor if they have understood the learning outcome being explored and the metacognitive process. Once the metacognitive skills have been acquired, students can independently adjust their learning accordingly and demonstrate the â€Å"self-reflection, self- monitoring and self-adjustment. † (WNCP, 2006, p. 85) Extensive and relevant modeling in the questions below can help students reach this point: 1. What is the purpose of learning these concepts and skills? 2. What do I know about this topic? 3. What strategies do I know that will help me learn this? 4. Am I understanding these concepts? 5. What are the criteria for improving my work? 6. Have I accomplished the goals I set for myself? What is self-assessment? According to Boud (1995), all assessment including self-assessment comprises two main elements: making decisions about the standards of performance expected and then making judgments about the quality of the performance in relation to these standards. When self-assessment is introduced, it should ideally involve students in both of these aspects. Andrade and Du (2007) provide a helpful definition of self-assessment that focuses on the formative learning that it can promote: Self-assessment is a process of formative assessment during which students reflect on and evaluate the quality of their work and their learning, judge the degree to which they reflect explicitly stated goals or criteria, identify strengths and weaknesses in their work, and revise accordingly (2007, p. 160). EXAMPLES OF SELF-ASSESSMENT Self-assessment can take many forms, including: ?writing conferences ?discussion (whole-class or small-group) ?reflection logs ?weekly self-evaluations ?self-assessment checklists and inventories ?teacher-student interviews These types of self-assessment share a common theme: they ask students to review their work to determine what they have learned and what areas of confusion still exist. Although each method differs slightly, all should include enough time for students to consider thoughtfully and evaluate their progress. When students understand the criteria for good work before they begin a literacy activity, they are more likely to meet those criteria. The key to this understanding is to make the criteria clear. As students evaluate their work, you may want them to set up their own criteria for good work. Help them with the clarity of their criteria as they assess their own work. Students observations and reflections can also provide valuable feedback for refining your instructional plan. As your students answer questions about their learning and the strategies they use, think about their responses to find out what they are really learning and to see if they are learning what you are teaching them. K-W-L (KNOW, WANT TO KNOW, LEARNED) CHART. K-W-L (Ogle, 1986) is an instructional reading strategy that is used to guide students through a text. Students begin by brainstorming everything they Know about a topic. This information is recorded in the K column of a K-W-L chart. Students then generate a list of questions about what they Want to Know about the topic. These questions are listed in the W column of the chart. During or after reading, students answer the questions that are in the W column. This new information that they have Learned is recorded in the L column of the K-W-L chart. Purpose The K-W-L strategy serves several purposes: Elicits students’ prior knowledge of the topic of the text. ?Sets a purpose for reading. ?Helps students to monitor their comprehension. WHY IS IT IMPORTANT? Donna Ogle asserts that KWL helps students become better readers of expository text and helps teachers to be more interactive in their teaching (Ogle, 1987). KWL charts help students to be active thinkers while they read (Carr Ogle, 1987), giving them specific things to look for and having them reflect on what they learned when they are finished reading. In learning, metacognition involves the active monitoring and conscious control and regulation  of cognitive processes. It involves thinking about thinking, self-awareness, and self-regulation (Flavell, 1979). The metacognitive strategy of self-questioning is used to ensure that students comprehend the text. When students set their own purposes for reading, they are more motivated and active as readers. Each student has a schema, or a framework for how they view the world. Accessing a students prior knowledge is the first step in integrating new concepts into their existing schema. KWL charts help activate background knowledge and provide an opportunity for students to set their own learning objectives.

How Much Control Should The Us :: essays research papers

Why does the government think they need to regulate private businesses? When it comes to working conditions, employers must be responsible to create fair standards of how businesses should operate. Business owners must be able to make independent decisions regarding wages, hours, and safety to allow one’s business to be successful. During President Regan’s years in office, he initiated a policy to deregulate businesses. He eliminated as many restrictions as possible, to let the businesses regulate themselves. This means that these companies can pay employees any amount desired, so long as they meet federal minimum wage standard. A special salary for employees working overtime is unnecessary. Successful businesses will choose to pay extra anyway, as this will create a competition between businesses for quality employees. The hours an employee works need not be regulated so long as the employee is compensated for the time worked. An example of how regulations can be counterproductive is in France. Currently employees are not allowed to work more than 35 hours per week. As of the 1st of January, that work week will be further reduced. Companies are fined if employees work more than 35 hours. This is causing a problem because the companies’ production is lower and so is the quality of the products. With reduced quality and quantity of the product, these companies could be forced out of business, leaving the government less to regulate. Safety is another key issue that the government likes to regulate. Because of the reduced work week in France, it will be interesting to see if safety becomes a problem for overnment regulators or private businesses. In the United States, most business owners are aware that a safe work environment is a must. How Much Control Should The Us :: essays research papers Why does the government think they need to regulate private businesses? When it comes to working conditions, employers must be responsible to create fair standards of how businesses should operate. Business owners must be able to make independent decisions regarding wages, hours, and safety to allow one’s business to be successful. During President Regan’s years in office, he initiated a policy to deregulate businesses. He eliminated as many restrictions as possible, to let the businesses regulate themselves. This means that these companies can pay employees any amount desired, so long as they meet federal minimum wage standard. A special salary for employees working overtime is unnecessary. Successful businesses will choose to pay extra anyway, as this will create a competition between businesses for quality employees. The hours an employee works need not be regulated so long as the employee is compensated for the time worked. An example of how regulations can be counterproductive is in France. Currently employees are not allowed to work more than 35 hours per week. As of the 1st of January, that work week will be further reduced. Companies are fined if employees work more than 35 hours. This is causing a problem because the companies’ production is lower and so is the quality of the products. With reduced quality and quantity of the product, these companies could be forced out of business, leaving the government less to regulate. Safety is another key issue that the government likes to regulate. Because of the reduced work week in France, it will be interesting to see if safety becomes a problem for overnment regulators or private businesses. In the United States, most business owners are aware that a safe work environment is a must.

Regulation of Political Speech

Can governments regulate political speech of corporations through restrictions on independent corporate expenditures? Over the course of the past twenty years, the U. S. Supreme Court constantly increased constitutional protection of corporate speech under the First Amendment and repeatedly struck down regulations on commercial speech as violating the First Amendment. Although the Supreme Court recently held statutory restrictions on corporate expenditures for electioneering communications to violate the right to free speech, it is still controversially discussed whether such restrictions can be upheld under the First Amendment. However, supporters of such restrictions ignore that the First Amendment is written in terms of speech and not of speakers and does not distinguish between different classes of speakers. Thus, restrictions on political speech cannot be justified solely based on the speaker’s corporate identity or its financial ability and inconsistent with the objective of preserving the integrity of the political process. Introduction TTThe freedom of speech is understood as an essential mechanism of democracy, for the free and public discussion of governmental affairs enables citizens to make informed choices among candidates for office. Owing to fundamental changes in society political views are increasingly expressed through organizations and corporations. In this respect, the protection of corporate speech under the First Amendment is widely recognized. Restrictions on corporate expenditures for political speech reduce the quantity of speech and thus restrict political speech itself. Along these lines, in Citizen United v. Federal Election Commission, the Supreme Court struck down statutory restrictions on corporate expenditures for electioneering communications as violating the First Amendment. However, this decision was widely criticized, in particular President Barak Obama blamed it as â€Å"open[ing of] the floodgates for special interests [†¦] to spend without limit in [United States] elections† and contended that American elections should not be â€Å"bankrolled by America's most powerful interests†. Notwithstanding the governmental interest in preventing corruption in the electoral process, the First Amendment does not distinguish between different classes of speakers and grants a corporation the same political speech rights as a natural person. To that effect, I intend to assess whether restrictions on corporate expenditures as imposed by the Bipartisan Campaign Reform Act of 2002 (BCRA) can be justified under the First Amendment. The paper has three main parts. To begin with, I quickly analyze in how far the provisions on corporate expenditures contained in the BCRA restrict the right of corporations to free speech under the first amendment. In part II, I examine the main arguments to justify such restrictions on corporate speech and raise some objections against them and finally, in the last part of the paper I examine to which extent the restrictions imposed by the BCRA are narrowly tailored to and consistent with the objectives they intend to achieve. I. Analysis of the Restraint The BCRA, prohibited the use of corporate general treasury funds for electioneering communications and only allows expenditures by segregated corporate funds through political action committees (PACs). As PACs are burdensome and expensive to administer they reduce the quantity of speech, for the quantity of speech is limited by financial resources available for the expression of political ideas. Consequently, expenditure restrictions function as a barrier to corporate speech and thereby prevent corporate voices from reaching the public and advising voters and deprive the public of its right to decide which speech and speakers are worthy of consideration. Therefore, restrictions on corporate expenditures also restrict political speech itself. Such restrictions can only be justified if they further a compelling interest and are narrowly tailored to achieve this interest. II. Compelling Governmental Interest In line with Austin v. Michigan Chamber of Commerce, it is argued that restrictions on corporate expenditures serve a compelling interest in preserving the integrity of the electoral process. As corporations, unlike individuals, possess more power and financial resources than most individuals they can exercise a greater influence on public political debates. To that effect, restrictions on corporate expenditures are claimed to be necessary to avoid quid pro quo corruption, namely to prevent corporations from exercising undue influence on officeholders inducing them to â€Å"act contrary to their obligations of office by the prospect of financial gain† – or in other words to prevent corporations from â€Å"buying† favors from a candidate. Opponents of expenditure restrictions contend that independent expenditures are not as dangerous as contributions, for they are not prearranged with candidate and might even turn out to be to the detriment of the candidate for such lack of prearrangement. However, I am not prepared to agree with this contemplation. As corporations usually inform candidates about their conduct, independent expenditures can have the same effect as direct contributions. On that note the court emphasizes in McConnell v. Federal Election Com’n that independent expenditures can be even more effective to induce then-elected officials to exercise their duties in favor of their corporate care-givers, because candidates know very well who their friends are. Notwithstanding the desirability to prevent corruption, the First Amendment does not distinguish between powerful and less powerful speakers, but stands against attempts to disfavor certain subjects or viewpoints and protects an open marketplace of ideas where speakers can engage in ‘vigorous’ advocacy. Therefore, it is inconsistent with attempts to restrict the speech of some to enhance the speech of others and the right to free speech cannot be made dependent on a person’s financial ability to engage in public discussion. In line with this, the Supreme Court held in Buckley v. Valeo that individuals and unincorporated groups are free to spend unlimited amounts to promote a candidate or his views. In this light, the potential for corruption cannot be said to be higher than in case of expenditures by individuals and there is no reason why corporate expenditures should be limited while a billionaire can lawfully spend millions to promote a candidate and exercise the same potential influence on the public debate. In addition, expenditure restrictions are claimed to be justified by a compelling interest to protect shareholders from being compelled to fund corporate speech, although their investments in the corporation only reflect economic choices, but not necessarily support for the corporation’s political ideas. Unlike individual speakers, corporations only operate to make profits and their participation in elections is transactional rather than ideological as they usually give money to candidates from both sides. At that, the special advantages of the corporate form – like limited liability and favorable treatment of the accumulation and distribution of assets – improve a corporation’s abilities to attract capital. Therefore, it is argued that resources a corporation acquired in the economic marketplace provide an unfair advantage on the political marketplace, because State law only allows corporations to be dominant in the economy, but not in politics. Although shareholders are free to sell their shares and cease the support of a corporation, they might be reluctant to withdraw their investment as this might force them to sacrifice profits from the corporation’s nonpolitical operations. However, this approach ignores that all speakers, even individuals, use money amassed on the economic marketplace to fund their speech. For instance, political speech might be funded through speakers’ salaries although their employer does not necessarily support their views or might be financed by loans from creditors who do not necessarily support the speakers’ views. III. Are Expenditure Restrictions Narrowly Tailored? Even assuming that the aforementioned interests could be considered compelling, the provisions of the BCRA are not narrowly tailored to achieve those interests. They are overinclusive because they include small corporations that do not possess the financial ability to exercise a dominant influence on the political debate and non-profit organizations. On the other hand, they are underinclusive for they exclude media corporations, although in particular modern media empires amass immense wealth and unreviewable power and are equally if not better equipped to influence the public political debate than other corporations. Many media corporations are owned or controlled by corporations that have diverse and substantial investments and participate in endeavors other than news. As a result, a corporation owning a media business and a non-media business could exercise its control over the media to advance its overall business interests whereas other corporations would be prohibited from promoting the same issue. Lastly, political speech is so integrated in this country’s culture that speakers will always find a way to circumvent campaign finance laws. Conclusion Restrictions on corporate expenditures for electioneering communications can no longer be upheld under the First Amendment. Likewise, no other restrictions on free speech can be imposed solely based on the corporate identity of the speaker. Nevertheless, I do not believe that the special interests of powerful corporations are likely to take over control of the electoral process, since disclaimer, disclosure and reporting standards ensure the integrity of the political process and allow voters to make a sophisticated choice. However, if Congress considers corporate expenditures to pose a threat to the integrity of the electoral process it is free to limit expenditures of all speakers, including individuals, or to impose heightened disclosure or reporting standards, provided they can identify a compelling interest for such restrictions. ——————————————- [ 1 ]. Darrell A. H. Miller, Guns, Inc. : Citizens United, Mcdonald, and the Future of Corporate Constitutional Rights, 86 NYUL. Rev. 887, 899 [2011]; First Nat. Bank of Boston v. Bellotti, 435 US 765, 98 S Ct 1407, 55 L. Ed. 2d 707 [1978]; Citizens United v. Fed. Election Com' n, 130 S Ct 876, 900, 175 L Ed 2d 753 [2010]; Id. 130 S Ct at 925-926; United States v. Playboy 529 U. S. 803, 813, 120 S. Ct. 1978, 146 L. Ed. 2d 865 [2000]. [ 2 ]. Kusper v. Pontikes 414 US 51, 56, 57, 94 S Ct 303, 307, 38 L Ed 2d 260 [1973]; Citizens United 130 S Ct 876, 885; Id. t , 899, 905, 913; Bellotti, 435 U. S. , at 783-784; Alex Osterlind, Giving A Voice to the Inanimate, at 275; Breanne Gilpatrick, Removing Corporate Campaign Finance Restrictions in Citizens United v. Federal Election Commission, 130 S. Ct. 876 (2010), 34 Harv. JL & Pub Pol'y 405, 416 [2011]. [ 3 ]. Mills v. Alabama 384 US 214, 218, 86 S Ct 1434, 1437, 16 L Ed 2d 484; Bellotti at 777; Citizens United at 898-899; Buckley v. Valeo, 424 US 1, 14-15, 96 S Ct 612, 46 L Ed 2d 659 [1976]. [ 4 ]. Bellotti, at 777-778; Time, Inc. v. Firestone, 424 U. S. 448, 96 S. Ct. 958, 47 L. Ed. 2d 154 [1976]; Doran v. Salem Inn, Inc. , 422 U. S. 922, 95 S. Ct. 2561, 45 L. Ed. 2d 648 [1975]; Southeastern Promotions, Ltd. v. Conrad, 420 U. S. 546, 95 S. Ct. 1239, 43 L. Ed. 2d 448 [1975]; Cox Broadcasting Corp. v. Cohn, 420 U. S. 469, 95 S. Ct. 1029, 43 L. Ed. 2d 328 [1975]; Miami Herald Publishing Co. v. Tornillo, 418 U. S. 241, 94 S. Ct. 2831, 41 L. Ed. 2d 730 [1974]; New York Times Co. v. United States, 403 U. S. 713, 91 S. Ct. 2140, 29 L. Ed. 2d 822 [1971] (per curiam); Time, Inc. v. Hill, 385 U. S. 374, 87 S. Ct. 534, 17 L. Ed. 2d 456 [1967]; NAACP v. Button, 371 U. S. 415, 428-429, 83 S. Ct 328 9 L. Ed. 2d 405; Grosjean v. American Press Co. , 297 U. S. 233, 244, 56 S. Ct. 444, 80 L. Ed. 660 [1936] [ 5 ]. Buckley, 424 U. S. 1, 19; Citizens United at 898. [ 6 ]. Citizens United v Fed. Election Com'n, 130 S Ct 876, 175 L Ed 2d 753 [2010]. [ 7 ]. Alex Osterlind, Giving A Voice to the Inanimate, 76 Mo L Rev 259 [2011]; Bradley A. Smith, President Wrong on Citizens United Case, NAT'L REV. ONLINE, Jan. 27, 2010, http://corner. nationalreview. com/post/? q=ZTVkODZiM2M0ODEzOGQ3MTMwYzgzYjNmODBiMzQz=. [ 8 ]. Bellotti, 435 US 765; Citizens United at 900, 925-926; Playboy 529 U. S. 803, 813; Kusper v. Pontikes 414 US 51, 56, 57, 94 S Ct 303, 307, 38 L Ed 2d 260 [1973]; Citizens United 130 S Ct 876, 885; Id. at , 899, 905, 913; Bellotti, 435 U. S. , at 783-784; Alex Osterlind, Giving A Voice to the Inanimate, at 275; Breanne Gilpatrick, Removing Corporate Campaign Finance Restrictions, at 416. [ 9 ]. Pub. L. No. 107-155, 116 Stat. 81 (codified in scattered sections of 2, 8, 18, 28, 36, 47 U. S. C. ). [ 10 ]. Pub. L. No. 107-155, 116 Stat. 81; Citizens United, at 887 (citing 2 U. S. C.  § 441b(B)(2) (2006)). [ 11 ]. Citizens United at, 897; McConnell v Fed. Election Com'n, 540 US 93, 330-333, 124 S Ct 619, 630, 157 L Ed 2d 491 [2003] overruled by Citizens United; Fed. Election Com'n v Massachusetts Citizens for Life, Inc. , 479 US 238, 253-254, 107 S Ct 616, 619, 93 L Ed 2d 539 [1986]; Buckley, 424 U. S. 1, 19. [ 12 ]. Citizens United at 899; Bellotti, at 791-92; Kingsley Intern. Pictures Corp. v Regents of Univ. of State of N. Y. , 360 US 684, 689 [1959]. [ 13 ]. Citizens United, at 898; Fed. Election Com'n v Wisconsin Right To Life, Inc. 551 US 449, 464, 127 S Ct 2652, 2657, 168 L Ed 2d 329 [2007]. [ 14 ]. Austin v. Michigan Chamber of Commerce, 494 US 652,659- 660, 110 S Ct 1391, 1395, 108 L Ed 2d 652 [1990] overruled by Citizens United; Fed. Election Com'n v Natl. Conservative Political Action Comm. , 470 US 480, 500-501 105 S Ct 1459, 84 L Ed 2d 455 [1985]. [ 15 ]. NCPAC, 470 US 480, 496-497. [ 16 ]. McConnell, 540 US 93, at 143-144; Id. at 150, 152-15 4, 297; Fed. Election Com'n v Colorado Republican Fed. Campaign Comm. , 533 US 431, 441, 121 S Ct 2351, 150 L Ed 2d 461 [2001]; Nixon v Shrink Missouri Govt. PAC, 528 US 377, 389, 120 S Ct 897, 145 L Ed 2d 886 [2000]. [ 17 ]. Buckley, 424 US 1, 45-46. [ 18 ]. Citizens United at 926; McConnell, 251 F supp. 2d at 555-560, 622-625; Playboy at 804-805, 813; WRTL at 478; Buckley at 45. [ 19 ]. Mcconnell, 540 US at 129. [ 20 ]. United States v Intl. Union United Auto. , Aircraft and Agr. Implement Workers of Am. (UAW-CIO), 352 US 567, 597, 77 S Ct 529, 1 L Ed 2d 563 [1957]; Citizens United at 883; Playboy at 803, 813; Bellotti at 784. [ 21 ]. Citizens United at 907. [ 22 ]. Buckley at 47-48 CU; New York Times Co. v. Sullivan, 376 US at 269, 84 S. Ct at 721 (quoting Bridges v. California 314 US 252, 270, 62 S. Ct. 190, 197, 86 L. Ed. 192 (1941); NACAP at 419. [ 23 ]. Kusper v. Pontikes 424 us at 48-49, Buckley, 96 S. Ct at 648-649. [ 24 ]. Buckley, 424 US 1, 48; New York Times Co. v. Sullivan, 376 US at 269; NACAP, 371 us at 419. [ 25 ]. Buckley at 45. [ 26 ]. Austin at 497-498; 500-501; 105 S. Ct at 1468-1469; NCPAC, supra at 500-501. [ 27 ]. Austin, 494 US 652, 685. [ 28 ]. Id. at 659; MCFL 479 US at 257,258, 263; FEC v. National Right to Work Committee 459 US 197, 208, 103 S. Ct. 52, 559, 74 L. Ed. 2d 364 (1982); Pipefitter v. United States 407 US 385, 414-415, 92 S. Ct. 2247, 2264, 33 L. Ed. 2d 11 (1972); Bellotti 98 S Ct 1407, 1431 [ 29 ]. McConnell 540 US at 148. [ 30 ]. Austin 494 US at 658-659. [ 31 ]. Austin 494 US at 658-659. [ 32 ]. Id. at 710. [ 33 ]. MCFL, 479 US 238, 260, 264, 107 S Ct 616, 629, 631. [ 34 ]. Citizen United, at 904; Austin at 660. [ 35 ]. Citizens United, at 905. [ 3 6 ]. Citizens United, at 905. [ 37 ]. Citizens United at 906. [ 38 ]. Citizens United at 906. [ 39 ]. Citizen United at 911-13; McConnell 540 US at 176-177.

Digital Photography

The education system is rapidly changing its dynamic in order to keep up with a fast paced technological world. In this capacity, learning tools are also being overhauled. One aspect with which education is expanding its perimeters is with digital photography. Though this art may seem experimental, the benefits towards increasing the knowledge of students and allowing teachers to interact in a different level with students are quite extraordinary. In the following essay, the educational benefits of digital photography will be introduced, as well as how effective a learning tool digital photography truly is will be discussed.In the world of education, the one thing that should be aimed towards is heightening knowledge base, and this can only be done by keeping up with the technological world. With the oncoming age of color introduced in photography in the 1930’s and 1940’s as the encyclopedia elaborates, â€Å"Nonetheless, color remained a sidelight in photography until the 1930s because it required considerable patience and expense on the part of both photographer and printer.The dominance of color in terms of reproduction and everyday picture-taking did not begin until 1935, when Kodak started to sell Kodachrome transparency film, and was completed by the introduction of color-print films and Ektachrome films in the 1940s†. With color photography, the realm of the fashion world drastically changed. The limits of black and white and sepia toned magazine covers gave way to brilliant exhibits of color combinations, and a wide range of fabrics that women and men could now see, duplicate, or buy.Fashion photography changed from depicting high-class society women to models in every day clothing. Professional photographers were then counted on to resonant the possibility of how fashion should co-exist with society. With Vogue and Harper’s Bazaar photographers were hired full time to create, in the magazine, a gallery of fabric eye candy dr essed on a model with a backdrop. The most notable photographers at the time were pictorialists , Edward Steichen and Englishman Cecil Beaton. The incorporation of art into photography made the photographs more believable as high fashion.Steichen and Beaton glamorized the models with enhanced lighting effects, which lionized the models and made the magazine world believe that fashion through photography was otherworldly. Among new techniques being used, the online encyclopedia states, â€Å"American Edward Steichen and Englishman Cecil Beaton, both one-time pictorialists. These photographers began to use elaborate lighting schemes to achieve the same sort of glamorizing effects being perfected by Clarence Bull as he photographed new starlets in Hollywood, California.Martin Munkacsi initiated a fresh look in fashion photography after Harper’s Bazaar hired him in 1934. He moved the models outdoors, where he photographed them as active, energetic modern women†. So began t he movement of high fashion. In the movement, the use of fashion as advertisement was key in developing a market for fashion photography. It is through marketing advertising, that fashion photographers began to be highlighted, as the encyclopedia states, â€Å"The new approach to photography in the editorial content of magazines was matched by an increasingly sophisticated use of photography in advertisements.Steichen, while also working for Vogue and Vanity Fair magazines, became one of the highest-paid photographers of the 1930s through his work for the J. Walter Thompson advertising agency†. These photographers, as well as others, helped to make advertising an art form through use of portraying model’s hands in product placement, and altogether catering to ever-widening audience of magazine buyers. Fashion photography changed through the utilization and realization that product sold only through its modeling and photographic depiction.One very important aspect of th e benefits of using digital photography in the classroom is that the brain’s adaptive learning hinges primarily upon visual stimulation. Students themselves are prone to evaluating and storing information more cohesively when it is presented in graphic form (Greame, 2003). In the classroom setting, when digital photography is in use then, the students stand a better chance of learning the necessary instructional material. Digital photography then aids the student in not just learning material, but excelling in the given subject. As Greame futher states,The creation and display of visual imagery have always been considered effective in reinforcing learning processes, and the development of photography as a learning tool brought new dimensions of creativity and self-expression, interactivity and collaboration, to classroom possibilities everywhere†¦The limitations imposed by processing technicalities and the inevitable time-lag have been eliminated by the use of digital ph otography, which also brings a bonus connection to a variety of ICT learning experiences, most particularly in the areas of digital literacy and graphics manipulation, but extending in applications across the curriculum.Visual imagery and by extension, digital photography, is of great and significant use in enhancing the learning experience and allowing the students to benefit from visual stimulation and the extended ability to learn information better and more efficiently. The process of digital photography also eliminates the need for a dark room and the expenses therein.Also, it allows for teachers and other educators to dispense of using their funding for development because with digital photography the access to film is easier with a simple input device jacked into the computer and the photo uploaded so each student can see it either on the computer, or the teacher can simple print it out for themselves. This is a very good benefit to education because the cost of buying film, and having it processed has now become an unnecessary expenditure and one in which the school board will be happy to be rid of, too.As Apple Education Resources puts it, One of the most important benefits of the Mac-based photography curriculum, Strembicki says, has been the creation of WUStL’s â€Å"digital darkroom. † Students can connect film-based, medium-format Hasselblad cameras that accept digital backs to their PowerBook systems via FireWire. After downloading their images and doing any necessary clean-up or manipulation, the students then send the images to a film recorder which exposes them onto regular film.With film in hand, the photographers can then go into the â€Å"wet† darkroom and create traditional prints†¦Strembicki adds that the digital darkroom is far more cost-effective than the wet environment. â€Å"The huge advantage to going digital is that the output price is really low,† he says. â€Å"Using the Macs allows students to b e more productive, and enjoy all the advantages that digital technology offers. † In education, especially in the area of cost, decisions are made and altered according to how it will affect the school’s budget.With digital photography a lot of the cost of photography is cut. Students who are exposed to digital photography are also being allowed to delve into a whole new realm of creativity that enhances their ability to be enthusiastic about learning. The goal of education is to permit the student to explore new and different dimensions of their self, and with digital photography this is happening. Digital photography is affective as a learning tool because it engages students as well as teachers.In learning, the students are also creating and generating an output of art thanks to digital photography. Also, if a student takes the wrong photo, or a bad photo, all that needs to be done is to push a delete button instead of spending the money of developing film: This is e asier, quicker, and more cost effective. Digital photography is not just for use in the art classroom, but spreads its technology to each subject area.As a learning tool, students become interactive with the use of digital photography and in certain instances they are prone to be dependent on a group if a certain projects requires it, which allows the students to expand their knowledge base of digital photography by asking each other questions and finding out together what the technology is capable of accomplishing. While interacting with the camera and using it for school projects students are not only learning about their given subject but they are also learning about the technology of the camera.Digital photography is a continual learning process, as APTE Professional Education Development Group states, Digital photography can be used at every phase of an instructional unit. If used at the beginning, students might take photographs for a particular purpose, such as recording a cl ass field trip, and write captions for each photo back in the classroom. Digital photographs may be used during or in the middle of a project or module. Students can observe and digitally photograph the daily growth of mold on bread, or the seasonal changing colors of leaves on deciduous trees.Later, they can write and report on the captured, observed changes. Students might write a draft of a story or historical event, then take pictures to illustrate their story, editing their written and photographic work as they progress. Digital photographs also make a great final presentation for projects in the classroom, as well as yearbooks, newsletters, and school newspapers. Digital photography then is capable of expression and use in each subject area and also allows students to enhance their knowledge of photography itself .Photography is about experimenting, and the students thrive in instances when they are allowed to create, and to make mistakes by themselves, and to find out what ha ppens on their own. Digital photography is a creative learning tool because almost every school-aged child can use it. The power of observation is required, and the way in which digital photography increases the student’s own part in the creative process is what makes digital photography integral to education and stimulating for students.For teachers also, digital photography has revamped the way in which they present material in the classroom. Among a list of enhancements that digital photography brings the teacher, it allows them to teach in new dynamics through enhancing lesson worksheets, overhead projection, e-mailing to students and attaching digital photos for specific lesson plans, setting up a web page and sharing photos through that page so that students don’t have to visualize but can see the photo for themselves.In lower grade levels such as elementary schools, teachers can use digital photography to make merit badges, and certificates of achievement to imp rove a student’s self-esteem. Digital photography may also be implemented to assist the learning impaired students for a particular lesson plan, or it can be used for taking pictures on field trips and copying the pictures on a disk and including that disk in a digital yearbook . One of the more dominant areas in which digital photography is implemented is in slideshow presentations.Any use that a regular photo has, is made easier for digital photography because pictures can be automatically uploaded into a computer and can be delivered to a recipient very quickly thanks to email (Keith Lightbody, 2006). Digital photography then is a very unique and diverse in the classroom setting. Not only does it challenge students but it also permits the teachers to bring in new study material and new ways in which to learn a lesson in the classroom and outside of the classroom.Thanks to this technological advancement, teachers are stimulating their students to new heights of creativity. Digital photography is not only cost efficient but it also allows students to make mistakes and to easily correct their mistakes through photo-workshops such as Adobe. Students are engrossed in what they are capable of developing with digital photography, and that is why it is an effective learning tool.

Horrifying Hammerhead Worm Facts

Horrifying Hammerhead Worm Facts The hammerhead worm (Bipalium sp.) is a terrifying and toxic terrestrial flatworm. Its both a predator and a cannibal, and is basically a large planarian that lives on land. While the distinctive-looking worms dont pose a direct threat to human beings, they are an invasive species that eradicates earthworms. Fast Facts: Hammerhead Worm Scientific Name: Bipalium sp.Other Names: Broadhead planarian, landchovyDistinguishing Features: Large terrestrial planarian with a spade-shaped head and ventral foot or creeping soleAverage Size: Over 20 cm in length (B. kewense)Diet: Carnivorous, known to eat earthworms and each otherLifespan: Potentially immortalHabitat: Distributed worldwide, preferring humid, warm habitatsConservation Status: Not evaluatedKingdom: AnimaliaPhylum: PlatyhelminthesClass: RhabditophoraOrder: TricladidaFamily: GeoplanidaeFun Fact: The hammerhead worm is one of very few terrestrial invertebrates known to produce tetrodotoxin. Description The most distinctive features of the hammerhead worm are its fan-shaped or spade-like head and long, flattened body. The underside of the planarian has a large creeping sole used for locomotion. Species are differentiated by the shape of the head, size, coloration, and stripe pattern. The terrestrial planarians are earth-colored, found in shades of gray, brown, gold, and green. Small hammerhead worms include B. adventitium, which ranges from 5 to 8  cm (2.0 to 3.1  in) in length. In contrast, adult B. kewense worms can exceed 20 cm in length. The hammerhead worm has a long, flattened body and a broad head. up close with nature / Getty Images Distribution and Habitat Hammerhead worms are native to tropical and subtropical regions, but have become invasive worldwide. It is believed the planarians were accidentally distributed on rooted horticultural plants. Because hammerhead worms require humidity, they are uncommon in desert and mountain biomes. Diet Bipalium worms are carnivores, known to prey on earthworms, slugs, insect larvae, and each other. The worms detect prey using chemoreceptors located under the head or ventral groove. A hammerhead worm tracks its prey, pushes it against a surface, and entangles it in slimy secretions. Once the prey is mostly immobilized, the worm extends is pharynx out from its body and secretes digestive enzymes. It sucks liquefied tissue into its branched gut using cilia. When digestion is complete, the worms mouth also serves as its anus. Hammerhead worms store food in vacuoles in their digestive epithelium. A worm can survive several weeks on its reserves and will cannibalize its own tissues for food. Bipalium kewense capturing an earthworm. Researchers believe the planarian secretes a toxin to immobilize its prey.   Jean-Lou Justine​, Leigh Winsor, Delphine Gey, Pierre Gros, and Jessica Thà ©venot Toxicity While some types of worms are edible, the hammerhead worm is not among them. The planarian contains the potent neurotoxin, tetrodotoxin. The toxin is found in pufferfish, the blue-ringed octopus, and rough-skinned newts, but not in a terrestrial invertebrate prior to its discovery in the hammerhead worm. The worm can use the toxin to immobilize prey and deter predators. Behavior Hammerhead worms have been mistakenly called hammerhead slugs because they move in a slug-like fashion. They use cilia on their creeping sole to glide over a strip of mucus. The worms have also been observed lowering themselves down a string of mucus. Land planarians are photo-negative and need high humidity. So, the animals usually move and feed at night. They prefer cool, damp places, typically residing under rocks, logs, or shrubs. Reproduction The worms are hermaphrodites, with each individual possessing both testes and ovaries. A hammerhead worm can exchange gametes with another worm via its secretions. Fertilized eggs develop inside the body and are shed as egg capsules. After about three weeks, the eggs hatch and the worms mature. In some species, juveniles have different coloration from adults. However, asexual reproduction is much more common than sexual reproduction. Hammerhead worms, like other planaria, are essentially immortal. Usually, a worm reproduces via fragmentation, leaving behind a tail tip stuck to a leaf or other substrate, which then develops into an adult. If the worm is cut into pieces, each section can regenerate into a fully-developed organism within a few weeks. Injured worms rapidly regenerate damaged tissue. Conservation Status None of the species of hammerhead worm have been evaluated for the IUCN Red List, but there is no evidence their numbers are threatened. Land planarians are widely distributed in their natural tropical and subtropical habitats and have extended worldwide. Once established in a greenhouse, the animals disperse into the surrounding region. In cold areas, the worms are able to survive freezing by seeking protected locations. Economic Importance At one time, researchers were concerned terrestrial planarians might damage plants. Over time, they were deemed harmless to greenery, but then a more insidious threat appeared. Hammerhead worms can exterminate earthworm populations. Earthworms are important because they aerate and fertilize soil. While some methods used to control slugs also work on the flatworms, hammerhead worms are considered a threatening invasive species. Their effect on ecosystems has yet to be fully understood. Sources Ducey, P. K.; Cerqua, J.; West, L. J.; Warner, M. (2006). Eberle, Mark E, ed. Rare Egg Capsule Production in the Invasive Terrestrial Planarian Bipalium Kewense. The Southwestern Naturalist. 51 (2): 252. doi:10.1894/0038-4909(2006)51[252:RECPIT]2.0.CO;2Ducey, P. K.; West, L. J.; Shaw, G.; De Lisle, J. (2005). Reproductive ecology and evolution in the invasive terrestrial planarian Bipalium adventitium across North America. Pedobiologia. 49 (4): 367. doi:10.1016/j.pedobi.2005.04.002Ducey, P. K.; Messere, M.; Lapoint, K.; Noce, S. (1999). Lumbricid Prey and Potential Herpetofaunal Predators of the Invading Terrestrial Flatworm Bipalium adventitium (Turbellaria: Tricladida: Terricola). The American Midland Naturalist. 141 (2): 305. doi:10.1674/0003-0031(1999)141[0305:LPAPHP]2.0.CO;2Ogren, R. E. (1995). Predation behaviour of land planarians. Hydrobiologia. 305: 105–111. doi:10.1007/BF00036370Stokes, A. N.; Ducey, P. K.; Neuman-Lee, L.; Hanifin, C. T.; French, S. S.; Pfrender, M. E.; Brodie, E. D.; Brodie Jr., E. D. (2014). Confirmation and Distribution of Tetrodotoxin for the First Time in Terrestrial Invertebrates: Two Terrestrial Flatworm Species (Bipalium adventitium and Bipalium kewense). PLoS ONE. 9 (6): e100718. doi:10.1371/journal.pone.0100718

Automobiles in Short Fiction

Cars as symbols (freedom, false values, power) in stories by Louise Erdrich (Red Convertible), Flannery OConnor (Good Man Is Hard to Find) John Steinbeck (Chrysanthemums). The automobile is both a means of transportation and a symbol of American freedom, and it is used as a symbol of various aspects of American society by different authors. It becomes an explicit statement of freedom and a symbol of false American values in a story by Louise Erdrich, while its freedom is false in a story by Flannery OConnor. John Steinbeck makes use of the automobile as a metaphor for control and power in The Chrysanthemums. In The Red Convertible by Louise Erdrich, the automobile of the title becomes a central symbol for the relationship between the two Chippewa brothers and for the relationship of the American Indian to the modern world. The story subtly evokes ideas and attitudes about the plight of the Native American without actually addressing these issues overtly. The narrator

Human trafficing Essay Example | Topics and Well Written Essays - 750 words

Human trafficing - Essay Example This is similar to slavery. Traffickers tend to exploit such persons and limit their freedom and movement. They sell them in the traffic market so as to make a kill out of it (Thomas 2). The complex nature of human trafficking needs an advanced approach and cooperation by different people involved in this vice. Stakeholders involved include law enforcement agencies, agencies working with the government, religious and non-profit making organizations. This approach combats human trafficking of women in particular by preventing, prosecuting, and even providing direct assistance to the victims in question, not forgetting interventionary approaches (Thomas 6). Moreover, there is also the crucial issue of trafficking women for the purpose of sexual exploitation. This continues to be an old trade in the world. It can be estimated that a large portion of women get trafficked internationally across borders of different countries in the world. These figures can be obtained from the recent study of sex slavery in the world. Nevertheless, global initiatives are now in control to help curb such vices from destroying a country’s fabric of integrity. They help in preventing, punishing and suppressing human trafficking. Certain stringent policies are now in effect to help suppress this vice. Persons caught trafficking and smuggling human kind can be observed as having committed two offences. Hence, smuggling is the delivering persons into a country they are not legal citizens and leaving them to fend for themselves illegally without legal documents of operation in that country. It involves paying a bribe to provide entry into that country. Sm uggling and trafficking of human kind is a vice involving the use of force that can be considered to be illegal and involuntary to the will of such persons (Thomas 13). The law plays a crucial part in defining them. It explores the method in which women who can be trafficked, can be viewed by law. For instance, having a view at the