Gates Essays - Big History, Bill Gates, , Term Papers

Gates Bill Gates co-founded Microsoft in 1975 and served as its Chief Executive Officer form the time the original partnership was incorporated in 1981 until January 2000. Then he resigned as Chief Executive Officer and took on the position of Chief Software Architect. Mr. Gates has served as Chairman of the Board since the companys incorporation. Bill Gates is recognized as the youngest self-made billionaire in history. His windows operating system, runs the vast majority of personal computers throughout the United States. It is obvious that it takes a certain type of person to successfully create and maintain such a profitable organization. However, when closely examined, Gates leadership characteristics are somewhat surprising. The way in which he directs his corporation is unique, and yet, still extremely prosperous. For a man to dropout of a prestigious university such as Harvard in chase of his dream, one must be devout in his pursuit. Gates has always believed in his goal and has never stopped striving for perfection. This sort of aim for fulfillment has a tendency to rub-off on others closely tied to Gates. In fact, others have cited this charismatic leadership as a major key to Microsofts success. Microsofts success depends on dedicated workers who have enormous faith in a charismatic leader, claims Scott Winkler, an analyst at Gartner Group: Bill tells them to do something and they do it. They believe in him. Hes never let them down in the past. The corporate culture is that Bills always right. Gates recognizes the need to have others, as well as he, focus on the groups vision and he realizes that it is the leaders responsibility to inspire his subordinates by leading by example. Charismatic leaders understand that they alone cannot make the vision a reality; they need their followers help and support to create organizational or societal changes. Gates definitely sought the support and wisdom of others when in the process of building the company. He worked hands on with his fellow employees, identifying and correcting problems with software and continually setting and reaching long-term goals. The primary influence process is personal identification, which is influence derived from a followers desire to please and imitate the leader. Charismatic leaders appear so extraordinary, due to their strategic insight, strong convictions, self-confidence, unconventional behavior and dynamic energy, that the subordinates idolize these leaders and want to become like them. Perhaps the most extreme example of this is within the Microsoft camp were the so-called Bill Clones, extremely brilliant, young, and recent college graduates, who were hired as managers. So strong was the admiration of Gates that these young men began to emulate their leader in almost every way. Jeff Raikes soon had the patented Gates mannerisms down pat. Raikes was quickly named Clone Number One in Microsoft circles. A Stanford MBA, Raikes had migrated from Cupertino, where he had headed up the software effort on the ill-fated Apple III and had gained a reputation as a firefighter for taking on tough software assi gnments. Gates uses extraordinary discretion when hiring applicants to work for Microsoft. He wants to ensure that every single person shares the same prospectus for the corporation, yet in their own way, have personal beliefs that they are willing to stubbornly stick to. His aim is not to create clones within the organization, but to stockpile it with as much imaginative genius has possible. It is only a credit to his charismatic qualities that such extremely bright people wish to emulate Gates in every way. Bill Gates is moody, and he is the first to admit it. Gates temperament can sometimes cause him to be an inefficient leader, especially when it affects his listening. One of Gates administrative assistants, Estelle Mathers, had this to say about the CEOs personality. Bill is moody. He told somebody once that one of the things he loved so much about me was that I knew when to leave him alone. If you tended to interrupt him at a bad time, you could get hurt. However, it is also important t o note that Gates expected the same sort of tenacity from his colleagues. Mathers goes on to add, He liked it when you stood up to him. I remember banging

Botanical Beverage from Ixora Coccinea Linn Petals Essay Essay Example

Botanical Beverage from Ixora Coccinea Linn Petals Essay Essay Example Botanical Beverage from Ixora Coccinea Linn Petals Essay Essay Botanical Beverage from Ixora Coccinea Linn Petals Essay Essay The construct of utilizing fresh comestible flowers in cookery is non new. Today. many eating houses use different flowers in their ingredients for an alien gustatory sensation and for a touch of elegance. Some flowers are used for comeuppances ; different flowers are assorted together in doing salads. But who could hold guessed that with the usage of creativeness. its sweet juice can be made into a delightful thirst quencher. Ixora Coccinea Linn. normally known as santan. is really popular during the early yearss. wherein the kids love sipping its nectar. The research workers were reminded of this activity when they saw a telecasting commercial screening that the nectar was being sipped by the grownup and the kid seeking the same. It gave the research workers an thought of utilizing santan flowers in doing a juice that would be healthy. alimentary and delightful that can be an alternate gustatory sensation quenchers for carbonated drinks or softdrinks found harmful to our organic structure. In surveies made. it was found out that excessively much consumption of soda drinks can do diabetes. fleshiness and bone loss. Statement of the Problem The research workers sought to reply the undermentioned inquiries: a. Can Santan flowers be used as an ingredient in doing a bracing drink while happening out if it is safe to imbibe? B. Make the extraction methods affect the colour. gustatory sensation and nutritionary composing of the Ixora Coccinea Linn drink? c. Are their gustatory sensations acceptable? d. Are their gustatory sensation comparable with that commercial drinks in the market today? Significance of the Study With this survey. the research workers can larn that Ixora Coccinea Linn ( Santan ) flowers are non merely used for ornament and shows. but are besides used to make a delicious nutrient and drink. Many thirst quenchers that are in the market today. like carbonated drinks. may harm our organic structure. So the research workers made it possible for you to seek something new that can slake your thirst. fulfill your gustatory sensation buds that is certain to be alone savoring and healthy. The community will hold a find of the beautiful gustatory sensation of santan flowers and derive more cognition and creativeness on its utilizations and what they can do out of it. Filipinos will hold a new and refreshfully healthy juice made of santan flowers which are certain to pull people. We will hold an original and delightful tasting drink which can be enjoyed by every member of the household. Scope and Limitation of the Study The group tried to come up with information that could assist them calculate more about the nature of the santan juice for about a month. Each member of the group got the information they needed from the Internet. The group used legion orange santan flowers. These flowers were boiled and used its juice as the merchandise. The group did non pass much since the stuffs they need are found in the surrounding and in their abodes. The santan juice as a merchandise would hold non been completed without the tools and techniques involved. The tools used in different techniques involved in doing the santan juice were saucepan. strainer. flavorers ( calamansi infusion and sugar ) and H2O. The techniques that were used were cleaning. warming. and pull outing activities. In carry oning this survey. the research workers had a hard clip in carry oning the experiments due to clip restraints. Besides. there was deficit of santan flowers. The flowers are excessively little. that is why the research workers need to hold every bit many flowers as they can. since they have to make several methods of pull outing the juice. Methodology Collection and Preparation of Materials Ixora Coccinea Linn flowers ( santan ) were collected from the adjacent abodes. The petals were washed exhaustively and dried. Three cups of distilled H2O was heated in a saucepan. Equally shortly as the H2O began to boil. the dried flowers of santan was added. and boiled for 10 proceedingss in low temperature. Afterwards. they allowed the petals to immerse for another 10 proceedingss. The mixture was poured from the pan to a hurler utilizing a strainer in order to divide the flower deposit from the infusion. Afterwards. the infusion was tasted and was compared to a commercial juice drink. Then. the research workers stirred in a teaspoonful of sugar and a teaspoon of calamansi juice in a glass of santan infusion. Finally. the research workers added ice and allow the mixture iciness wholly. They once more compared the gustatory sensation of the prepared santan drink from a commercially produced drink. The methods that the researches used are found at World Wide Web. congocookbook. com. and at World Wide Web. yummly. com/recipe/Hibiscus-Tea. The research workers repeated the process utilizing fresh santan petals. They compared the juices that were made and recorded their observations. They besides requested other people outside their group to state the difference between the two drinks and compare it to commercially produced juices.

MGT501 - Mgmt. and Org. Behavior session long project 2 (Jung Typology Essay

MGT501 - Mgmt. and Org. Behavior session long project 2 (Jung Typology Test.) - Essay Example This feature is true however has gone unnoticed throughout my life. The results show that in an organization I will be very decisive and that I am a very organized person. This along with my strong interpersonal skills together will prove to be my strengths in an organization. I believe, and as confirmed by the test, I have the excellent entrepreneurial abilities and have the ability to juggle between numbers of responsibilities. This I believe is my biggest strength and is my mode of opportunity in a workplace as well. One of the other features that the test has brought out is the fact that I follow the open door policy and am ready to be interrupted by other admits my work. I provide undivided attention, and this I think will be very useful in a work place. One of the few things that I might have a problem with includes my sensitive nature and my â€Å"thinner psychological boundaries†. Truly as an individual I tend to go out of the way to help others and in a number of cases, I tend to get into trouble because people tend to take advantage of me. This I feel will be one of the biggest issues that I might face in an office environment. In order to improve my overall managerial competence, I believe that I need to practice being stronger and need to learn to say ‘No’. This I can achieve by taking up the self improvement courses and with the help of my friends and family. I will also practice this in all aspects of life so that I do not become a push over and people do not take advantage of me. In conclusion I feel that this assessment of my nature and personal managerial competence is very accurate. The ENFJ category of people are referred to as, ‘the Caregivers’, which I feel is a true portrait of my nature. This assessment has brought out the best of my qualities as well as the biggest of my weaknesses and has provided me with a chance to learn and improve

Two articles summary ( one page for each) Article

Two articles summary ( one page for each) - Article Example He gives the example of the episode, â€Å"A Streetcar Named Marge.† The episode uses allusions to A Streetcar Named Desire, Ayn Rand, The Great Escape, and Hitchcock’s The Birds. Matheson argues that these allusions are not for satire, but to capture deep meanings and to connect them to the story and the characters. These allusions are successful in keeping the humor tight and meaningful in The Simpsons. Apart from quotationalism, hyper-ironism shows the bleak humor of the show. Matheson asserts that modern society has â€Å"a pervasive crisis of authority,† which the show also describes through its undercutting of moral positions, including its own cynicism. He says that hyper-ironism is present in how The Simpsons attacks itself for its lack of strong and clear moral values and direction. Matheson argues that The Simpsons is funny because of its combination of quotationalism and hyper-ironism that see the society as it is, filled with cold and lost people tryi ng to hang on to traditional values while adapting new ones. Walter Benjamin provides a general history of the evolution of art. He asserts that changes in the economic structure have created changes in art. Like the economic structure, art is losing its essence, or â€Å"aura,† the inner force that comes from art’s uniqueness. He argues that mechanical reproduction has destroyed art by reinforcing oppressive socioeconomic systems. Benjamin explores the loss of art in the modern mechanical age. His first main point is that technology removes the purity of art. Technology makes art reproducible or mass-produced, which destroys art’s aura. Aura is lost in mass production because authenticity cannot be reproduced as it leads to the lost authority of the original maker. His second point is that art is as oppressive as the economic structure. Art is oppressive because it puts the masses in their controlled position, as they consume symbols and images that protect

Progress Can Kill Essay Example | Topics and Well Written Essays - 750 words

Progress Can Kill - Essay Example I know that it is tempting to assume that we can solve the world’s oil shortage problems by exploiting the territory occupied by this indigenous population. However, the main issue is whether or not we can do this without exploiting the rights and dignity of this indigenous population. Let us first consider the rights and dignity of this indigenous population. They have been occupying this territory for centuries, not ten or thirty years. Mostly in the world, when an individual occupies a home or a piece of land for 12 years without an objection from the true owner, the state recognizes and protects the occupant’s right to claim and use the property absolutely as he or she wishes. Can we honestly deny that this indigenous tribe does not enjoy the same right, continued and unmolested, to occupy their territory? I would take this step further and argue that given the long and continued occupation of it by the indigenous tribe, it is not only our legal, but also our moral responsibility to protect and recognize their right to claim and use that territory absolutely and free of outside influences and intrusions. This is not just a question of the right to occupancy. This is also about the protection of the universal human rights. In particular, this tribe has adapted itself to a particular way of living and preservation consistent with their animistic religious beliefs. As members of the UN we have pledged that no state shall disrespect the religious beliefs of the individual. How then can we justify even asking this tribe to move aside and allow us to exploit their territory for the purpose of looking for oil? Let us consider the Holy City of Mecca. What if we think suddenly that the Holy City of Mecca most likely sits on untapped oil reserves. Could we in good conscience approach Muslims in the holy city and talk to them about the possibility of turning their city upside down for oil exploration purposes? I don’t think that we would even cons ider taking this approach because we respect the right of religious organizations to practice their religion as long as that practice does not involve activity causing harm to others. On the contrary, far from causing harm to others, this indigenous people have preserved the rain forest at the time when concerns about the destruction of the rain forests globally have been a major issue for environmentalists. We should, therefore, be celebrating the fact that this tribe has preserved the rain forest and not think of ways that we can deplete yet another portion of the world’s rain forest. While we are considering the possibility of oil exploration in this particular area, let us also consider the dignity of this tribe. The dignity of indigenous people has been assaulted throughout our history. Colonial and imperial powers have mercilessly uprooted indigenous people, exploited their territories and with the total disregard for their right to self-determination have left them wit hout dignity and without their own system of governance. Unfortunately, history dictates that indigenous people have a long history of exploitation and injustice. Do we want to stop the cycle of exploitation or do we want to re-establish it? The UN International Covenant on Civil and Political Rights informs that we have a duty to protect the right of indigenous population to self-determina

A IMPORTANCIA DO USO DA MUSICA

A IMPORTANCIA DO USO DA MUSICA A IMPORTANCIA DO USO DA MUSICA PARA O ENSINO DA LINGUA INGLESA A importAncia do uso da mUsica para o ensino da là ¬ngua inglesa RESUMO A cada dia surgem novos metodos e propostas que pretendem auxiliar no aprendizado da là ¬ngua inglesa de forma efetiva. Porem, ao tentar usar formas inovadoras o profissional da area de là ¬nguas estrangeiras se depara com um problema muito comum: o aluno escuta, mas nà £o compreende, escreve, mas nà £o cria a là ¬ngua escrita, repete expressoes e palavras, mas nà £o fala. Ou seja, nà £o se comunica, realmente, numa segunda là ¬ngua. e importante entender que o sucesso na aquisià §Ãƒ £o de uma nova là ¬ngua requer comprometimento e participaà §Ãƒ £o total por parte do aluno. Metodologias rejuvenescidas, ou a aplicaà §Ãƒ £o de regras, nà £o significam aprendizado efetivo. O educando precisa se sentir familiarizado com a là ¬ngua; necessita sentir-se parte deste meio. A mUsica tem esse poder de abrir caminhos e ligar conceitos e ideias. Ela consegue propagar ate aspectos culturais de uma determinada regià £o, usando uma combinaà §Ãƒ £o de linguagem sonora, verbal e, muitas vezes, visual. Ferreira (2009) comenta que desde os primà ³rdios da humanidade, a mUsica ja servia de subsà ¬dio para as primeiras manifestaà §oes verbais orais da humanidade. A partir desta constataà §Ãƒ £o, este estudo pretende apresentar e ressaltar a importAncia da mUsica, como auxiliadora na aprendizagem da là ¬ngua estrangeira (LE), neste caso, a là ¬ngua inglesa (L2). O objetivo e mostrar que o uso da mUsica pode auxiliar o educando no desenvolvimento das quatro habilidades: compreensà £o auditiva, compreensà £o oral, leitura e escrita. PALAVRAS-CHAVE MUsica. Aprendizado. Desenvolvimento. Comunicaà §Ãƒ £o. A importAncia do uso da mUsica para o ensino da là ¬ngua inglesa 1 Introduà §Ãƒ £o O ser humano e um ser musical. Podemos notar isso em qualquer tipo de evento ou comemoraà §Ãƒ £o. A mUsica e usada para expressar sentimentos ou mesmo para traduzir o grau de importAncia que cada um tem sobre determinado evento em sua vida. Porem alem de manifestaà §Ãƒ £o pessoal segundo Ferreira (2009) com a mUsica, e possà ¬vel ainda despertar e desenvolver nos aluno sensibilidades mais aguà §adas na observaà §Ãƒ £o de questoes prà ³prias à   disciplina alvo. Sendo assim, ao utilizarmos a mUsica em aulas de là ¬ngua inglesa, podemos despertar o desejo e o envolvimento do aluno, considerando tambem que ela e uma forma de comunicaà §Ãƒ £o comumente usada entre grupos em conversas, trocas de mensagens, lazer, festas, encontros, principalmente entre pessoas mais jovens. Porem nà £o podemos desconsiderar que, por vezes, a mUsica e caracterizada como outra linguagem, e dessa forma, pode apresentar barreiras ao profissional que intencione dela fazer uso, mas que nà £o domina essa tecnica ou   que se sente desconfortavel neste tipo de atividade. Nà £o e desconhecido que um dos grandes problemas enfrentados pelo professor de là ¬ngua estrangeira e o de procurar formas ou adaptar materiais para que o seu aluno aprenda e desenvolva os conhecimentos da là ¬ngua estrangeira. E mesmo quando, apà ³s pesquisas e tentativas, se desenvolve uma forma mais pratica de transmissà £o de dados e informaà §oes, o professor se depara com a falta de interesse do aluno, pois este percebe que seu aprendizado nà £o e completamente satisfatà ³rio. Qual educando nà £o se desencanta ao perceber que seu aprendizado da là ¬ngua estrangeira nà £o o habilita e capacita a se comunicar? Nerici (1985, p.11) afirma que praticar atividades nas quais o indivà ¬duo se revele mais eficiente; faz com que ele se sinta capaz, o que lhe confere auto-confianà §a. Alem disto, toda a atividade educativa deveria ser motivada na realidade. Esta deveria ser a fonte de motivaà §Ãƒ £o para se educar ou ensinar uma disciplina, principalmente quando falamos de linguagem e comunicaà §Ãƒ £o. Devemos aproximar o aluno da là ¬ngua e nà £o afasta-lo. Rivers (1975) menciona que a maneira ideal de desenvolver ao maximo a habilidade oral seria viver entre os falantes da là ¬ngua alvo. Acontece que, na nossa realidade brasileira, nem todos os alunos podem viajar, mesmo que por um espaà §o curto de tempo, para um paà ¬s falante de là ¬ngua inglesa, neste caso, a fim de praticar o que vem aprendendo em seu conteUdo escolar e ampliar seu vocabulario. Um dos principais fatores no aprendizado de uma là ¬ngua estrangeira e a habilidade e oportunidade de pratica-la, testar sua elasticidade[1] (Rivers, 2000 p.94, traduà §Ãƒ £o minha[2]). Para que o educando tenha o melhor aproveitamento da là ¬ngua inglesa, o professor muitas vezes, precisa descobrir ou adaptar tecnicas que propiciem bons resultados de aprendizagem. O material didatico atualmente usado em algumas instituià §oes educacionais ou escolas de idiomas, em certos aspectos, nà £o fornece bases necessarias para o real aprendizado de um idioma estrangeiro. Sà £o livros muitas vezes compostos de conteUdo ultrapassado ou que nà £o condiz com a realidade. Ou seja, a là ¬ngua inglesa que se ensina nà £o e a que e falada, por um falante nativo. Como consequà ªncia, por vezes o aluno se sente desmotivado, pois nà £o se acha capacitado em aprender a L.E. , ou simplesmente por nà £o entender o que e falado em series de TV, filmes, programas de variedades etc. E o pior e que essa desmotivaà §Ãƒ £o pode afetar diretamente o educador, que nà £o và ª o resultado de seu esforà §o em ensinar a L2. O educando precisa se familiarizar com a realidade. Essa realidade deve ser atraente a ele, a fim de que este queira conhecà ª-la, e sinta que pode atuar nela. Metodologias especializadas para o ensino de là ¬nguas estrangeiras orientam enfaticamente que um bom aprendizado requer interaà §Ãƒ £o entre aluno e là ¬ngua a ser aprendida, mediada ou liderada por um professor. Este professor deve ter, como qualidades essenciais, um grau de lideranà §a tanto quanto sensibilidade, percepà §Ãƒ £o e afeto. Quando um professor demonstra essas qualidades, os alunos perdem o receio de se atrapalharem com os exercà ¬cios, principalmente diante dos colegas, pelo contrario, tà ªm desejo de interagir e se expressar. Acrescido a isso, o uso de materiais como filmes, jornais e textos de gà ªneros variados, mUsicas e a interaà §Ãƒ £o com os costumes, farà £o   com que esses alunos compartilhem suas opinioes acerca da cultura da là ¬ngua alvo (Rivers, 2000). 2   MUsica para ensinar Ferreira (2009 p.14) define que uma comunicaà §Ãƒ £o efetiva e Compreender aquilo que faà §o com a maneira pessoal de expressar-me e ser compreendido por aqueles que me cercam. Rivers (1975), por sua vez, afirma que a aprendizagem da habilidade auditiva e de compreensà £o deve ser desenvolvida com exercà ¬cios para os estagios de identificaà §Ãƒ £o e retenà §Ãƒ £o. Nà £o estamos apenas falando do exercà ¬cio de retenà §Ãƒ £o de informaà §oes e repetià §Ãƒ £o de palavras, mas sim da real comunicaà §Ãƒ £o com um mundo globalizado, sendo assim, com linguagens e sinais. Trabalhar com exercà ¬cios que fogem da realidade ou que sà £o construà §oes artificiais nà £o produzira o resultado esperado de aprendizado, pelo contrario, pode confundir o aluno na hora em que a este forem requeridas a compreensà £o ou comunicaà §Ãƒ £o na là ¬ngua alvo. Rivers (1975) faz objeà §Ãƒ £o a afirmativa de que se ao aluno forem ensinadas a leitura, a escrita e a gramatica de uma maneira adequada, ele aprendera a falar rapidamente, de maneira fluente e natural, no momento em que se encontrar numa situaà §Ãƒ £o em que o uso oral da là ¬ngua lhe seja importante. Analisando o aprendizado, de uma forma geral, nà £o podemos deixar de constatar que e essencial o interesse do aluno. Sera uma tarefa ardua e inglà ³ria tentar desenvolver algum tipo de habilidade em alguem que nà £o sente empatia pelo assunto a ser estudado; ela deve ser despertada. Nerici (1985, p.12) afirma que o conhecer algo traz como consequà ªncia empatia acompanhada de um agir responsavel em relaà §Ãƒ £o a esse mesmo algo. Ao entrar em contato com o universo que e a là ¬ngua estrangeira, e neste caso, com o auxà ¬lio da mUsica, o aluno tende a se aprofundar, por empatia, no conhecimento e na aquisià §Ãƒ £o gramatical, lexical, cultural da L.E. . Aos poucos, este educando vai ampliando seu conhecimento, promovendo assim seu efetivo aprendizado. Nà £o se trata apenas do conhecer informal, mecAnico, mas de um conhecimento vivo. Atraves de metodos, analises e releituras de formas de ensino, nà ³s professores podemos criar uma ponte entre o aluno e o conhecimento, de uma maneira agradavel, interessante e ampla. A realidade que nos deparamos quando observamos alunos dentro do contexto escolar por vezes e preocupante. Existem educandos que sà £o naturalmente propensos ao estudo e ao desenvolvimento de uma L.E. Mas sà £o alguns. Deparamo-nos com um grupo que e falante de uma mesma là ¬ngua materna, porem com propà ³sitos e motivaà §oes e interpretaà §oes particulares. (Brown, 2001). Se os educandos hoje sà £o ecleticos, e o que os norteia tem diferentes cores e formas, nà ³s, enquanto professores, precisamos encontrar um ponto em comum, ou pelo menos, tentar desenvolver atividades que mantenham a dinAmica da aula e proporcionem a aquisià §Ãƒ £o da là ¬ngua estrangeira. A interaà §Ãƒ £o entre a sua abordagem e a atividade em sala de aula e a chave para o dinamismo no ensino. Os melhores professores sempre correm alguns riscos calculados em sala de aula, tentando uma ou outra atividade nova. [3] (Brown, 2001 p.40). A proposta e a abordagem de exercà ¬cios que usam   esta estrategia para exercitar a memà ³ria (aquisià §Ãƒ £o de vocabulario); as habilidades cognitivas (raciocà ¬nio e significado de expressoes); e afetivas (simpatia pelo grupo e/ou cantor). Nà £o se trata mais de privilegiar a gramatica ou a comunicaà §Ãƒ £o, mas de promover o conhecimento e o reconhecimento de si e do outro. Brown (2001) sugere que o professor motive os seus alunos por meio de atividades que desenvolvam compreensà £o, autoconfianà §a, interesse pela là ¬ngua e cultura. Segundo Rivers (1987) a mUsica promove interaà §Ãƒ £o nà £o somente do aluno-aluno, mas tambem do professor-aluno. Ha uma troca de conhecimentos e discussà £o sobre determinado aspecto, dentro da mUsica que esta sendo utilizada em determinado exercà ¬cio. Atividades musicais tà ªm a capacidade de promover e desenvolver quatro estagios ou habilidades: preparaà §Ãƒ £o, compreensà £o, expressà £o e reaà §Ãƒ £o. e por esse motivo   que e um recurso que promove resultados satisfatà ³rios tanto para   o professor quanto ao aluno. O uso de mUsica e canà §oes de maneira organizada, com letras de facil interpretaà §Ãƒ £o e com pouca repetià §Ãƒ £o descansa o grupo de alunos, quando eles està £o envolvidos em atividades gramaticais, por exemplo. Ha tambem outro fator importante que e a motivaà §Ãƒ £o. O educando que esta motivado com determinado exercà ¬cio tem melhor resultado. Rivers (2000, p.95) afirma que ha um elemento motivacional especà ¬fico no ensino de mUsicas em là ¬ngua estrangeira. Em inglà ªs, que e a là ¬ngua da mUsica pop, este fator motivacional e evidente. [4]   De fato, a mUsica da acesso à   parte reacional do aluno, fazendo-o sentir o que esta sendo dito ou a mensagem que se esta passando atraves da letra. (Rivers, 2000). A mUsica e uma das maneiras que usamos para nos exprimir e interagir com o outro. E por ser uma ferramenta poderosa de comunicaà §Ãƒ £o, e possà ¬vel usa-la no aprendizado da là ¬ngua, para facilitar a compreensà £o e a absorà §Ãƒ £o do insumo de conhecimento teà ³rico. A tecnologia eletrà ´nica, atualmente, facilita de forma ampla o uso da mUsica em sala de aula, pois hoje, e muito facil ao aluno e ao professor disporem de aparelhos portateis, ou ainda, ter acesso a uma vasta e diversificada quantidade de mUsicas via internet. No entanto, toda essa diversidade musical deve ser usada de maneira direcionada. Do contrario, o aprendizado com a mUsica passara a ser sà ³ mais uma aula com mUsica. Quase um passatempo. Existem diversas formas musicais. Dentro dessas formas, distribuem-se os varios gà ªneros. A escolha do gà ªnero mais adequado para um resultado satisfatà ³rio no aprendizado e absorà §Ãƒ £o por parte do aluno e de extrema relevAncia. Ferreira (2009 p.25) ressalta que hoje sabemos a relaà §Ãƒ £o à ¬ntima que a mUsica tem, por exemplo, com disciplinas como a arte (em geral), a là ¬ngua (portuguesa, inglesa, italiana, latina etc), a histà ³ria, a matematica, a fà ¬sica [. . . ] Trata-se de uma arte extremamente rica e que dispoe de farto e vasto repertà ³rio, acessà ¬vel em qualquer lugar no nosso planeta. No entanto, quando nos propomos a usar a mUsica associada a uma outra disciplina, que nà £o a prà ³pria arte musical e suas caracterà ¬sticas, constatamos que o aluno associa essa atividade ao lazer e diversà £o e nà £o especificamente ao aprendizado. Nà £o e incomum os educandos nà £o levarem as aulas com mUsica a serio, o que pode causar desordem e barulho, atrapalhando inclusive salas vizinhas. Esta constataà §Ãƒ £o nà £o e notada somente nos alunos; o prà ³prio professor pode ter influenciado este tipo de comportamento, ao tratar atividades com mUsica, nas aulas de inglà ªs, de maneira inapropriada. Para que problemas provenientes da falta de organizaà §Ãƒ £o e inabilidade sejam evitados, a mUsica que sera usada nas aulas deve ser cuidadosamente avaliada; da mesma forma que seu conteUdo e qualidade do audio. Sons baixos, ruidosos, gravaà §oes de baixa qualidade e de difà ¬cil compreensà £o mais incomodam que auxiliam Canà §oes em inglà ªs, a exemplo de milhares de outras canà §oes, nà £o tà ªm a intenà §Ãƒ £o de ensinar a là ¬ngua inglesa. Para sua composià §Ãƒ £o, seus autores usam as mais variadas composià §oes linguà ¬sticas e recursos estilà ¬sticos, expressoes idiomaticas, gà ¬rias, para expressar um ponto de vista, um aspecto cultural, fazer um protesto contra injustià §a social ou polà ¬tica. E toda essa combinaà §Ãƒ £o permite-nos introduzir o aluno na cultura da L2. Tomemos, como exemplo, um trecho retirado da mUsica Crazy[5], do grupo norte-americano Simple Plan. Tell me whats wrong with society. When everywhere I look I see. Young girls dying to be on TV. Wont stop til. Theyve reached their dreams. Diet pills, surgery. Photoshop pictures in magazines. Telling them how they should be. It doesnt make sense to me Nestas duas estrofes podemos encontrar aspectos culturais atuais: (Garotas morrendo para aparecem na TV[6]); podemos abordar o uso de contraà §oes, muito comuns na là ¬ngua falada (Whats, til);   alem de explicar ou mesmo retomar os Modal Verbs (Does/doesnt, Will/wont).   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Para que a mUsica, uma forma de linguagem que apresenta em sua composià §Ãƒ £o aspectos complexos, seja usada com sucesso, o professor deve dedicar-se ao seu estudo, procurando compreendà ª-la, considerando os sons e ritmos variados, ou seja, a sua amplitude. Este professor deve estar disposto a aceitar o desafio, vencer a timidez, caso nà £o o tenha feito ainda, de usar e disponibilizar tanto a tecnologia, quanto de seu prà ³prio talento musical. Deve explorar e desenvolver atividades musicais a fim de ampliar aspectos culturais, como expressoes idiomaticas, gà ¬rias, abreviaà §oes e coloquialismos. E ficar atento aos resultados que o uso de mUsicas em sala de aula pode lhe proporcionar. Nà £o se trata de aprofundamento na teoria musical, ou suas raà ¬zes e histà ³ria. A proposta aqui e fazer uma ponte entre a disciplina de là ¬ngua inglesa e a mUsica. A mUsica alem da arte de combinar sons, e uma maneira de exprimir-se e interagir com o outro, e portanto, devemos compreendà ª-la. (Ferreira, 2009). 3 Inteligà ªncias MUltiplas na sala de aula Inteligà ªncia musical A escola com a qual trabalhamos hoje passa por mudanà §as significativas a cada dia. Sà £o novas tecnologias, novas metodologias. O aluno esta muito mais crà ¬tico ao aprendizado, e fà ³rmulas muitas vezes usadas nas salas de aulas nà £o dà £o mais o mesmo resultado. A escola que nà ³s educadores visualizamos busca estimular o profundo entendimento dos alunos a utilizarem conhecimentos adquiridos para resolverem tarefas e problemas com os quais se deparam na comunidade e ambiente em que vivem (Gardner, 1993 apud Armstrong, 2001). O aluno hoje, nà £o deve aprender somente teoria. Ele deve usar toda a informaà §Ãƒ £o adquirida em prol de seu desenvolvimento e inserà §Ãƒ £o num mercado cada vez mais global. Mas para que esse convà ¬vio real, numa sociedade bilà ¬ngue aconteà §a, a escola de hoje tem a missà £o de mediar ou auxiliar esse aluno. O està ¬mulo ao uso e compreensà £o da L2 deve acontecer de forma familiar. Isso evitara o fracasso do professor, e derrubara problemas inerentes à   abordagem sou obrigado a aprender uma L2, discurso muito comum encontrado hoje em dia. A proposta e o uso de algum mecanismo que faà §a esse aluno se sentir familiarizado com tanta mudanà §a à   sua volta. Na Europa Oriental, ha vinte e cinco anos, pesquisadores em educaà §Ãƒ £o descobriram que os alunos conseguiam gravar mais informaà §oes na memà ³ria se escutassem a exposià §Ãƒ £o da materia, pelo professor, com sons musicais ao fundo. E se a mUsica promove este conforto e sucesso, essa descoberta e uma forte aliada para qualquer professor de là ¬nguas. Porem nà £o podemos desconsiderar que quando falamos do uso da mUsica, tambem temos outros fatores envolvidos em resultados satisfatà ³rios. Ha alunos que, naturalmente, sà £o predispostos à   linguagem musical. Sà £o aqueles que tà ªm uma aptidà £o nata à   mUsica. Neste caso, o uso desta linguagem para o aprendizado tera excelente resultado, pois estarà £o envolvidos alem da aquisià §Ãƒ £o de conhecimentos, o fator emocional, o prazer, a receptividade. Quanto aos educandos que nà £o possuem uma inteligà ªncia musical nata, se houver o desenvolvimento de atividades que propiciem integraà §Ãƒ £o e comprometimento no aprendizado, os resultados tambem serà £o satisfatà ³rios. Isso vale tambem para desenvolver tal habilidade em educadores, se estes se considerarem nà £o possuidores de inteligà ªncia musical. Devemos lembrar que ao falar de atividades com mUsica nà £o estamos considerando somente o cantar em grupo, ou mesmo, repetir palavras dentro de um contexto. Estamos abordando tecnicas e exercà ¬cios de concentraà §Ãƒ £o, predisposià §Ãƒ £o e relacionamento com uma determinada atividade linguà ¬stica. Nà £o e tarefa facil definir padroes de enquadramento, para se chegar num consenso se um aluno e ou nà £o possuidor de inteligà ªncia musical[7]. E tambem o objetivo principal e o aprendizado atraves da mUsica, resultando em desenvolvimento pessoal e intelectual. e importante sempre considerar que o mais importante em qualquer tipo de aula, ou atividade diferenciada, que se desvie do padrà £o e o resultado para a pessoa do aluno. Antes de levarmos adiante qualquer tipo de modelo de aprendizagem em um ambiente de sala de aula, baseado tambem, dentre tantas outras consideraà §oes, na inteligà ªncia musical, devemos primeiro aplica-lo a nà ³s mesmos como educadores. Armstrong (2001) nos adverte que um passo importante no uso da Teoria das Inteligà ªncias MUltiplas e determinar a natureza e a qualidade das nossas prà ³prias inteligà ªncias mUltiplas, buscando maneiras de desenvolvà ª-las na nossa vida. Somos educadores, mas tambem somos aprendizes. A melhor maneira de avaliar o desempenho de nossos alunos, e explorar de forma significativa as inteligà ªncias e examinando de maneira realista nosso desempenho diante das tarefas que propomos aos nossos alunos. Em vez de realizar tarefas com os alunos, podemos desempenha-las juntamente a eles. Por exemplo, podemos propor um teste, cujas perguntas se enquadrem numa avaliaà §Ãƒ £o das inteligà ªncias separadamente. A partir das respostas, alem de conseguirmos entender mais profundamente a sala, poderemos explorar e despertar o interesse dos alunos, de forma interpessoal. Perguntas como Aprender uma là ¬ngua estrangeira (inglà ªs) e relativamente facil para mim? ou Ouà §o as palavras em minha cabeà §a antes de là ª-las, fala-las ou escrevà ª-las? para medir a Inteligà ªncia linguà ¬stica; ou mesmo Minha vida seria mais pobre se nela nà £o houvesse mUsica? e ainda Conheà §o a melodia e a letra de muitas mUsicas? para medir a Inteligà ªncia Musical seria um exercà ¬cio revelador e envolvente para toda a sala. A teoria das inteligà ªncias mUltiplas e um modelo atrativo e interessante para nos auxiliar. Ela serve para avaliarmos a sala, como um todo, mas a nà ³s mesmos, pois nos desafia a superarmos nossas prà ³prias dificuldades e limitaà §oes. Armstrong (2001 p.32) orienta-nos da seguinte forma: Se vocà ª nà £o tem ideias para levar a mUsica à   sala de aula porque sua inteligà ªncia musical e pouco desenvolvida, pense em pedir ajuda à   professora de mUsica da escola ou a um colega com inclinaà §oes musicais. Cada aluno tem inclinaà §oes diferentes nas inteligà ªncias mUltiplas. Portanto, sabemos que determinados exercà ¬cios que usam ritmos e cAnticos serà £o bem aceitos por uns e rejeitados por outros. Devido a essa diferenà §a inerente a qualquer grupo heterogà ªneo, o professor pode usar estrategias variadas para a mesma aula. Aquele aluno que tem inclinaà §oes mais fà ¬sicas e verbais, por exemplo, podera nà £o se interessar por atividades musicais, mas apreciara exercà ¬cios do tipo preencha as lacunas ou complete o restante que falta na frase e assim por diante. Ja à  queles que apreciam o ritmo e a melodia, sera interessante exercà ¬cios orais e repetià §Ãƒ £o de expressoes e estruturas complexas, por exemplo, os phrasal verbs ou tempos verbais. Ao falar do exercà ¬cio da inteligà ªncia musical, Alvarez (2002) remete-nos ao fato de que tanto na Idade Media quanto no Renascimento, a mUsica ja era considerada um dos quatro grandes pilares da aprendizagem, juntamente à   geometria, a astronomia e a aritmetica. Armstrong (2001 p.83) reforà §a sua importAncia, relatando-nos que por milhares de anos, conhecimentos foram transmitidos de geraà §Ãƒ £o em geraà §Ãƒ £o por meio de mUsicas ou cAnticos. No seculo XX, os publicitarios descobriram que os jingles musicais ajudam as pessoas a lembrar o produto de seu cliente. Os educadores, todavia, demoraram mais para reconhecer a importAncia da mUsica na aprendizagem. Como resultado, a maioria de nà ³s tem milhares de jingles musicais comerciais na memà ³ria a longo prazo, mas relativamente poucas mUsicas relacionadas à   escola. Podemos ate criar um ritmo moderno, um rap ou um cAntico, associado à   aula que queremos explanar. Por exemplo, se colocarmos um ponto central que queremos ensinar numa aula expositiva, de forma rà ¬tmica, com repetià §oes, a sala toda podera se envolver tanto no conteUdo quanto no ritmo. Esse exercà ¬cio e muito comum entre os alunos, e sà ³ observar alunos cantarolando mUsicas e palavras em inglà ªs, nos corredores das escolas. Outro exercà ¬cio e convidar os alunos a criarem seus prà ³prios jingles ou canà §oes sobre o tema a ser estudado. Esse exercà ¬cio ajudara os alunos a sintetizarem a materia e a aplicaà §Ãƒ £o dos significados aprendidos, alem de proporcionar uma atmosfera mais descontraà ¬da e emocional para a aula. Se o professor tocar algum instrumento de percussà £o, ou qualquer outro instrumento musical tambem sera uma à ³tima contribuià §Ãƒ £o para bons resultados. Alem disso, podemos encontrar frases musicais, ou trechos de canà §oes que resumam algum ponto essencial da materia estudada. Tambem e possà ¬vel falar sobre literatura, usando ritmos opostos para sugerir situaà §oes mais calmas ou tensas, da peà §a Romeu e Julieta de Shakespeare, por exemplo. Armstrong (2001). Essas estrategias oferecem um grau de amplitude e criatividade consideraveis tanto para os alunos, quanto para os professores. O desafio maior   aqui e vencer a resistà ªncia quanto à   timidez e o envolvimento com o grupo que se esta trabalhando. 4 Traduà §oes e Versoes Existem hoje diversas formas, com resultados satisfatà ³rios, de se trabalhar com a mUsica em sala de aula. Podemos citar os exercà ¬cios mais comuns de preencha as lacunas em branco ate praticas mais elaboradas de traduà §oes. Atualmente e muito facil encontrar mUsicas na internet, que dispoem de traduà §oes. Isso pode ser considerado uma à ³tima estrategia de ensino pela facilidade e disponibilidade tanto para o professor quanto para o aluno. Considerando essa disponibilidade tecnolà ³gica, acessà ¬vel ate para as escolas de menor poder aquisitivo, podemos trabalhar uma analise de letras de hinos, poesias cantadas, canà §oes (esta Ultima muito mais comum e de facil traduà §Ãƒ £o). Nà £o podemos negar que muito do que e traduzido aos alunos, provem de nossa prà ³pria experià ªncia como professores ou tradutores. Porem, existem traduà §oes que sà £o verdadeiras perolas para a compreensà £o. Vejamos o exemplo da mUsica Im not dog no, de Falcà £o e Tarcà ¬sio Matos, uma versà £o do portuguà ªs para o inglà ªs da canà §Ãƒ £o Eu nà £o sou cachorro nà £o[8], de Waldick Soriano. A mUsica foi traduzida ao pe da letra. Sabemos que foi intencional, porem, com o uso desta canà §Ãƒ £o, o professor podera trazer à   tona erros que devem ser evitados ao lidar com letras e traduà §oes, e assim explicar expressoes idiomaticas e coloquialismos. Im not dog no, for live so humbleIm not dog no, for you be so very farYou dont know understand who is love, who is likeE eu ja estou querendo stay hereAnd so there I go away Eu nà £o sou cachorro nà £o, para viver tà £o humilhado Eu nà £o sou cachorro nà £o, para vocà ª estar tà £o longe Vocà ª nà £o sabe entender o que e amar, o que e gostar E eu ja estou querendo ficar aqui E assim, la eu ir embora As mUsicas de carater humorà ¬stico servem para descontrair a aula, alem de tornar o aprendizado atraente para a maioria dos educandos, sejam eles das mais variadas idades. Os alunos passam a aprender e adquirir conhecimento nà £o somente observando os acertos e construà §oes linguisticamente corretas, mas notando ou localizando os erros. Duas pessoas diferentes nà £o interpretam ou entendem um trecho exatamente da mesma maneira. A personalidade, experià ªncia e a referà ªncia de memà ³rias farà £o com que esta interpretaà §Ãƒ £o varie de aluno para aluno (Rivers, 2000). A contribuià §Ãƒ £o, por exemplo, que teremos ao interpretar uma mUsica, como exercà ¬cio em sala de aula, sera outro fator motivacional e por que nà £o dizer, uma promoà §Ãƒ £o à   relaà §Ãƒ £o   interpessoal   entre   o grupo, pois cada aluno trara uma versà £o diferente de um mesmo trecho de mUsica. MUsicas e canà §oes usadas como atividades conduzem naturalmente ao aprendizado ou aperfeià §oamento da là ¬ngua estrangeira. A pronUncia e entonaà §Ãƒ £o sà £o assimiladas com facilidade atraves de canà §oes na là ¬ngua alvo. Alem disso, segundo Rivers (2000, p.160) trabalhar com mUsica pop pode envolver quanto à   leitura sobre o cantor/cantora, acompanhar entrevistas com o cantor/cantora no radio ou TV, assistir os và ¬deos ou cantar as mUsicas[9]. O aluno, ao ser motivado a aprender as palavras, podera exercitar atividades diferentes sozinho e depois compara-las à  s dos colegas de classe. O professor inclusive pode se valer desta iniciativa do aluno e fornecer-lhe a mUsica com os espaà §os em branco para completar. 4.1   A TECNOLOGIA NA SALA DE AULA Quando alguem fala no uso de tecnologia e mUsicas em sala de aula, logo pensamos em computadores, ou nas aulas de computaà §Ãƒ £o na sala de multimà ¬dia da escola. A questà £o e que, tudo que nà £o seja cad

Transculturation in Our Sister Killyjoy and Nervous Conditions Essay

Transculturation in Our Sister Killyjoy and Nervous Conditions Postcolonial insights include theories of Diaspora, cultural hybridity and transculturation. The latter, ‘transculturation’ is the term used to define ‘cultural change induced by introduction of elements of a foreign culture.’[1] The term ‘transculturation’ was first coined by Cuban anthropologist and sociologist Fernando Ortiz in 1947 to describe the phenomenon of merging and converging cultures. Transculturation covers war, ethnic conflict, racism and multiculturalism, hence it is a concept very relevant to the postcolonial period and subsequently to postcolonial literature. When transculturation affects ethnicity the term ‘ethnoconvergence" comes into being and is opposed by ‘ethnocentrism’ the view that one's culture is of greater importance than another’s. Ethnocentrism manifests itself in various aspects of culture, though the main ethnocentric divider is always religion or belief, these ethnic divides are most frequently binary. ‘Our Sister Killjoy’ and ‘Nervous Conditions’ both show aspects of transculturation, perhaps the most obvious sign are the narrator's adoption of the dominant English language to write their novels. At varying points in each novel it is also clear that both Aidoo and Dangarembga have difficulty in choosing between the two cultures in their own personal struggles with transculturation. I shall go on to explore these instances of transculturation within both novels. Tsitsi Dangarembga’s 1988 novel ‘Nervous Conditions’ is a landmark in postcolonial literature as it was the first published English novel written by an African woman. Set in 1960’s Rhodesia and emerging from the shadows of apartheid, it chronicle... ...147 [10] Dangarembga, Tsi Tsi. Nervous Conditions. Scattle: The Seal Press, 1988 page [11] Okonkwo p6 [12] Odamtten, Vincent O. The Art of Ama Ata Aidoo: Polylectics and Reading Against Neocolonialism (Florida: University Press of Florida, 1994) page 122 [13] Aidoo, Ama Ata Our Sister Killjoy (New York: Longman, 1977) page 13 [14] Aidoo, Ama Ata Our Sister Killjoy (New York: Longman, 1977) page 57 [15] Odamtten, Vincent O. The Art of Ama Ata Aidoo: Polylectics and Reading Against Neocolonialism (Florida: University Press of Florida, 1994) page 125 [16] Aidoo, Ama Ata Our Sister Killjoy (New York: Longman, 1977) page [17] Aidoo, Ama Ata Our Sister Killjoy (New York: Longman, 1977) page 112 [18] Pratt, Mary Louise Imperial Eyes: Travel Writing and Transculturation (London, Routledge 1992)

Online classes vs Traditional classes Essay

Online classes and traditional classes are both great ways to receive an education. They both strive for the same purpose, which is to help students reach their goals during college. Although both online and traditional classes are great, they do differ in some ways. The four major differences between these classes are, interaction between students and professors, convenience, the learning process, and the cost. The student/teacher interaction plays an important role between these two class settings. Students in a traditional class setting have the abilit7y to listen to the instructor, talk about lessons, ask any questions that they may have, as well as take part and watch any demonstrations. In a traditional class, students are able to communicate with peers and professors before and after class, regarding any assignments, concerns, or grades. Online students typically communicate with instructors through emails or phone. Teachers may also be able to explain things better face to face, rather than through emails or over the phone. So students may not get the complete explanation this way. Also, in the case of any questions, the professor and peers won’t be readily available to provide feedback on the spot, though effective professors will make themselves available through a variety of methods, which includes online office hours. Taking classes online typically allow students to work asynchronously, which means they can choose where and when they complete their coursework. This is often ideal for students who work or single parents who needs a flexible schedule. Online classes can also be a great approach to a college degree, for as long as a computer and internet access is available, course work can be accessed from anywhere (Sorensen,2007). Though, students who struggle to be self-motivated may find that they can quickly fall behind. Traditional class settings are quite different. They require physical presence, where you physically go to school a few times a week. Many make attendance mandatory and grades can suffer if class is missed. Students in a traditional class room receive regular communication about class assignments, as well as direct instructions from the professors. The learning process online is more self driven than face to face. Online students need a higher degree of personal responsibility and discipline. If students can keep effective schedules, meet deadlines consistently, and know the basics of using a computer, than they may have success online. Those who need a more personal contact with professors and a more structured environment, may consider a traditional class room setting. Getting the most value for a dollar is important, so shopping around for a program that fits the budget is essential. Online programs, aside from the flexibility they offer, generally speaking, are more affordable than traditional classes (Sorensen,2007). Many even offer convenient payment plans in order to help make online classes more affordable. Even at a lower cost, it can still be difficult for some students to pay for college; looking into various forms of financial aid can help alleviate some of that burden. Check in with different schools to see if they offer grants, loans, work study programs, scholarships, or any other forms of aid. Simply fill out the Free Application for Federal Student Aid, (FAFSA). In the world today, nothing is more confusing than choosing a education. Considering there are different ways to access a higher education, it is clear to see and understand options of traditional and online programs. Knowing this information can certainly help students decide which method best meets the needs and individual situation. Looking at the benefits that each option has to offer can help guide you into making the right decision. Even though obtaining a traditional education can be beneficial, the flexibility, environment, and length of the class can make online a better decision.

How We Have Bubble Gum Today

How We Have Bubble Gum Today In the early 1900s, Americans could not get enough of the modern-day variation on the lip-smacking confection called bubble or chewing gum popularized by Thomas Adams. The popular treat has a long history and has come in many forms over time. Earliest Record of Chewing Gum A variation of chewing gum has been used by ancient civilizations and cultures around the world. It is believed that the earliest evidence we have of chewing gum dates back to the Neolithic  period. Archeologists discovered  6,000-year-old chewing gum made from  birch bark tar, with tooth imprints  in Finland. The tar from which the gums were made is believed to have antiseptic properties and other medicinal benefits. Ancient Cultures   Several ancient cultures used chewing gum regularly. It is known that the ancient Greeks chewed mastiche, a chewing gum made from the resin of the mastic tree. The ancient Mayans chewed chicle, which is the sap of the sapodilla tree. Modernization of Chewing Gum In addition to the ancient Greeks and Mayans, chewing gum can be traced back to a variety of civilizations around the world, including the Eskimos, South Americans, Chinese and Indians from South Asia. The modernization and commercialization of this product mainly took place in the United States. Native Americans chewed resin made from the sap of spruce trees. In 1848, American John B. Curtis picked up on this practice and made and sold the first commercial chewing gum called the State of Maine Pure Spruce Gum. Two years later, Curtis started selling flavored paraffin gums, which became more popular than spruce gums. In 1869, Mexican President Antonio Lopez de Santa Anna introduced Thomas Adams to chicle, as a rubber substitute. It did not take off as a use for rubber, instead, Adams cut chicle into strips and he marketed it as Adams New York Chewing Gum in 1871. Potential Health Benefits Gum can be credited for several health benefits, such as potentially increasing cognition and brain function after chewing the gum. An additive and sugar substitute xylitol has been found to reduce cavities and plaque in teeth.   Another known effect of chewing gum is that it increases saliva production. Increased saliva can be a good way to keep the mouth fresh, which is helpful for reducing halitosis (bad breath). Increased saliva production has also been found to be helpful following surgery involving the digestive system and for the possible reduction of digestive disorders, such as GERD, also known as acid reflux. Timeline of Gum in Modern Times Date Chewing Gum Innovation December 28, 1869 William Finley Semple became the first person to patent a chewing gum, U.S. patent No. 98,304 1871 Thomas Adams patented a machine for the manufacture of gum 1880 John Colgan invented a way to make chewing gum taste better for a longer period of time while being chewed 1888 Adams chewing gum called Tutti-Frutti became the first chew to be sold in a vending machine. The machines were located in a New York City subway station. 1899 Dentyne gum was created by New York druggist Franklin V. Canning 1906 Frank Fleer invented the first bubble gum called Blibber-Blubber gum. However, the bubble blowing chew was never sold. 1914 Wrigley Doublemint brand was created. William Wrigley, Jr. and Henry Fleer were responsible for adding the popular mint and fruit extracts to a chicle chewing gum 1928 Walter Diemer, employee of Fleers company, invented the successful pink colored Double Bubble bubble gum. 1960s U.S. manufacturers switched to butadiene-based synthetic rubber as a base for gum, because it was cheaper to manufacture

Types of Problem-Solving Assignments

Types of Problem-Solving Assignments The purpose of problem-solving assignments is to get students accustomed to dealing with real world situations. The answers in the workplace will not be handed to someone on a silver platter, one needs to find a solution independently. Problem-solving assignments exist to help students build up their critical thinking skills while looking for solutions to real-world problems, based on facts, and not their opinion. Some problem-solving assignments require in-depth research and will be a process to come up with an acceptable and reasonable answer. Some problem-solving assignments will have a solution and it’s up to the students to analyze if it’s the best solution. There could be other solutions that would have made a greater impact and it’s up to a student to reflect and compare what is known today. Why Problem Solving Assignments Are Important The purpose of problem-solving assignments is to get students accustomed to dealing with real world situations. The answers in the workplace will not be handed to someone on a silver platter, one needs to find a solution independently. A person must be confronted with a problem and understand what it takes to solve it and do it systematically. What works for one will not work for all. However, a person should be able to explain how they have come to the conclusion and solved that problem. THE ART OF EFFECTIVE PROBLEM SOLVING Problem solving is used in every industry. The more comfortable a person is utilizing their own critical thinking skills, the better prepared they are for a career. Problem solving involves strong mental capabilities and can be used for something as simple as a math problem to something more elaborate and complex regarding a person’s future goals. Whatever the problem or issue may be, a workable solution should be met. Types of Problem Solving Assignments There are five main types of problem-solving assignments. There are various methods to solve each type, but it’s up to students to use their own cognitive abilities to solve. They must use all available resources. The five problem-solving assignment types are the following: analytical, informational, argumentative, reflective, and expressive. A student will find that many of the problem-solving assignments intertwine with each other. Analytical Problem-Solving Assignments Analytical problem-solving assignments involve student’s ability to connect ideas. A student should be able to break down the problem into parts and analyze each as to get a clear understanding of what is being asked. Analytical problem solving typically is the foundation of every type of problem-solving assignment. Informational Problem-Solving Assignments Informational problem-solving assignments involve a student’s ability to summarize the problem. Informational problem solving is like a puzzle. A student must break each piece out so it is clear what the problem is. Again, students must analyze the problem at hand and be able to clearly communicate the problem and its solution. Argumentative Problem-Solving Assignments Argumentative problem-solving assignments involve students ability to state a claim and back the claim up with supportive evidence. A student may not always be asked to formulate their argument based on what they stand for. They may be asked to formulate their argument based on a con to get them to analyze both sides of the problem. Reflective Problem-Solving Assignments Reflective problem-solving assignments involve students ability to look at past experiences and reflect upon them. This is often an assignment to get the student to think what they have learned from a situation. Expressive Problem-Solving Assignments Expressive problem-solving assignments involve students ability to express how they feel regarding a situation. This will require a student to use their reflective problem-solving skills. PROBLEM SOLVING SKILLS Tips for Tackling Problem-Solving Assignments There is not just one method of solving problems. However, there are basic procedures a person should follow to break down what the problem is and how to formulate a solution. Here are a few very important tips on dealing with problem-solving assignments: Tip 1. Students should lay out a map in their heads to think what approach they should take. Pinpoint the issue and start formulating a thesis statement to concentrate on the problem. Tip 2. When formatting the assignment, ensure they have validated that there is a problem. This includes a thorough statement of the problem, any cause and effect relationships, who the problem affects, and the reason a new solution should be met. Tip 3. Next, evaluate all possible solutions. This may include stating what tactics have been tried in the past if it worked or did not work, and what solutions may have worked better than others, and why. Tip 4. Finally, when formatting the assignment, clearly define the solution, why it is the best solution of possible solutions available, and what resources are needed to make it work. Tip 5. Students should realize that not all solutions to a problem will be the most amiable. It’s important to analyze the good and bad. Tip 6. Students could view the problem as a puzzle. They can create an idea or storyboard and break the facts out. They can use whatever methods necessary to link ideas to possible solutions. Illustrations go a long way. Tip 7. An important key with problem solving is to always ask why, when, where, who, and how. Why did the problem occur or exist? When did the problem occur? Where did the problem occur? Who caused the problem or is affected by it? How can the problem be rectified? Tip 8. A student should not be afraid of taking risks. Again, there are advantages and disadvantages of problem solving and their solutions. Problem-solving assignments are meant to boost students critical thinking skills. It helps them become organized. Critical thinking is used in everyday life situations and is primarily useful once a student starts their career. If a student can remember to answer the basic why, when, where, who, and how questions, they will be able to formulate the majority of the problem-solving assignment. PROBLEM SOLVING STRATEGIES At we provide assistance with problem-solving assignments as well. If youve come to grips with a problem assignment that you are unable to tackle, wed be glad to assist you. We have assisted dozens of students through their problem-solving tasks, so feel free to contact us! We will select the writer with a suitable background, who will help you through your problem-solving assignment and will ensure it contains proper language, formatting, flows nicely, is fully original and fully matches your requirements. is happy to be your academic advisor! Just place an order and get your professionally written paper on time.

PEPSI Advertisement - A Lot More Than You Think Essay

PEPSI Advertisement - A Lot More Than You Think - Essay Example A young Hispanic boy starts off in by an apartment complex in this commercial, and by using an urban Hispanic setting with a monotone color scheme, a sense of confinement is instilled and something must be done about it.   With this set-up, Pepsi comes in to â€Å"save the day† or, in this case, this boy’s life from normality.   Pepsi’s product promises to lift this particular Hispanic youth out of a lower-middle class inner-city barrio environment into a drummer for a popular band.   Once the boy has tried the product, he becomes inspired giving him confidence and motivation to follow his dream of becoming a drummer.   And while everyone else is still living their mundane lives, he has transcended this barrio environment to pursue his dream.   He ascends to the high-class stardom status instantaneously in the commercial.   He is suddenly taken out of the boring lifestyle he was living in, ages about ten years older, and is put in a rock band on stage entertaining a massive crowd of fans most likely with his professional drumming. The boy’s younger years are portrayed in the sunlight, but not necessarily in a cheerful, happy way.   The sun just seems to be part of the whole monotonous picture.   When the boy’s dream is finally reached, the whole set-up is changed.   Instead of it being day, it is night (or at least in an indoor stadium or concert hall).   The only light is the light coming from the stage lights.... The boy's younger years are portrayed in the sunlight, but not necessarily in a cheerful, happy way. The sun just seems to be part of the whole monotonous picture. When the boy's dream is finally reached, the whole set-up is changed. Instead of it being day, it is night (or at least in an indoor stadium or concert hall). The only light is the light coming from the stage lights, which represent the fact that he is now the only one being focused on whereas before everyone was under the sunlight. No one would seem to have any fortune in the boy's town, and there are a lot of "mom and pop shops" or "bodegas" as the production notes in the video Production Notes state. This would imply that when the children are old enough, they end up taking over the family shop or store, which represses the child's dreams of becoming rich and famous. Since they will have to spend so much time and have so much responsibility over their bodega, they will never have enough time to pursue their dream, but drinking Pepsi will put them on par with the rest of the rock stars and celebrities because they drink it too. And when you drink Pepsi, you are a rock star too, metaphorically or in the instance of this commercial realistically as well. The main Hispanic boy of the commercial purposefully does not look like a rock star until he grows up into one after drinking the Pepsi, and neither does anyone else in the town. Everyone is meant to just be an average, stereotypical, Hispanic person living their daily lives kind of mindlessly. The boy however has been energized, motivated, and inspired by the Pepsi-cola he drank and he shows this in his

The Obligation to defend South Vietnam Essay Example | Topics and Well Written Essays - 2500 words

The Obligation to defend South Vietnam - Essay Example They could not just ignore â€Å"the long-suffering people of South Vietnam† (Westmoreland 1). In addition, the power of North Vietnamese military was stronger than that of South Vietnamese military when North Vietnamese were attacking South Vietnamese unjustly. According to Johnson (1), the war was characterized as unparalleled brutality. The simple farmers were one of the kidnapping and assassination targets. The children and their mothers were killed in the middle of the night since their fathers and husbands were loyal and obedient to the state. Consequently, the villages were always affected by attacks and raids that were majorly conducted in terror strikes and towns. North Vietnamese, Viet-Cong, attacked villages and killed not only soldiers but also civilians. Viet-Cong killed women and children. â€Å"In 1857 they reverted to terror, both indiscriminate and selective, with the assassination of teachers and local leaders. This terror rate went up every year† (Westmoreland 1). The Americans thought they should help Vietnamese to make order. The purpose of the U.S. was not only just to fight against Communism, but also to defend South Vietnamese from brutal attack of North Vietnamese. The reason why the U.S. had to be involved is that Americans and other democratic countries feared the spread of Communism because it possibly would threaten the democracy in the world. Eventually, it will threaten the freedom in the U.S. also. Therefore, Americans were committed to stopping it. In his April 7, 1965 speech, President Johnson addresses this growing problem: "Over this war-and Asia- is another reality: the deepening shadow of Communist China† (Johnson 1). Americans and people of other Democratic countries were afraid of the power of China; Americans thought unless they help Asian countries to escape from the danger of Communism, China would threaten and "dominate all southeast Asia† (Johnson 2). It was not only a problem