Curriculum designing guidelines Essay Example for Free

Curriculum designing guidelines Essay Purpose The construction of experiences and outcomes that effectively provide progression in each curriculum area and convey the values, principles and purposes of A Curriculum for Excellence is central to the success of the program. In particular, it is important that you reflect relevant aspects of the four capacities in your work. If we can get this right these outcomes and experiences will have a significant, positive, impact on classroom practice and hence on the learning experience of all children and young people. It is an exciting prospect. Starting point In phase 1 each early review group should be asked to simplify and prioritise the curriculum (from age 3 to 15 in the first instance) retaining what currently works well and making changes where these were justified by research evidence. The output from phase 1 of the review process and the rationale for your curriculum area, research and other national and international comparators are your starting points. Your work will be based on the relevant parts of the Curriculum Frameworks: for Children 3 – 5, 5 – 14 guidelines, Standard Grade, and National Qualifications. It is important that experience and outcome statements you write at each Curriculum for Excellence level provide appropriate cognitive demand. The framework for outcomes The experiences and outcomes will sit within a framework of advice to teachers. Curriculum Area The eight curriculum areas are: Expressive Arts, Health and Wellbeing, Languages, Maths, Religious and Moral Education, Science, Social Studies and Technologies. Rationale The rationale provides an overview of the curriculum area states its main purposes and describes its contribution to the values and purposes. Subsets of the curriculum area Each curriculum area is subdivided either into fields of learning – or ‘subjects’ (e. g. Expressive Arts into art, drama, dance and music) or into aspects of learning in that area (e. g. Languages into listening and talking, reading and writing) Lines of development These identify learning tracks in each subset of the curriculum area. They are expressed in different ways in each area of the curriculum. For example within expressive arts they identify the skills to be developed: creating, presenting and evaluating in art, drama, dance and music; within science they describe broad areas of knowledge and understanding to be developed; biodiversity, being human and cells in Our Living World. Experiences and outcomes Within each line of development, experiences and outcomes describe the expected progression in learning for children and young people. Essential outcomes. Essential outcomes are a small number of high level statements, derived from the main purposes described in the rationale, that encapsulate what learning in that curriculum area provides for all children and young people. Taken together, the essential outcomes are intended to sum up the expectations for the broad general education of all young people. The focus of your work will be writing the experiences and outcomes for your curriculum area. It is likely that there will be interplay between what you produce and the ‘essential outcomes’ , which are the ones helping to shape and refine the other in an iterative manner. Outcomes should be written in the clearest possible English. Where possible these should be accessible to children and young people, but not at the expense of clarity. It is also important to try to write lively and engaging experiences and outcomes. Best Practices of Writing the Curriculum Ultimately the intention is to produce streamlined guidance for the entire curriculum in a single document. We also intend to make the outcomes available in electronic format to allow curriculum leaders and teachers to identify and blend outcomes from both within and beyond curriculum areas. Several stages will be required to achieve this.

offensive language Essay -- essays research papers

Offensive Language Throughout the day, I find myself exposed to harsh language. Whether in at work or walking through the hallways at school, it is all around us. Later, as I accelerate through rush-hour traffic, I discover that I use these words as well, lashing out with blunt verbal terms in the safety of my enclosed vehicle. I have used bad language before, but I do use it often. I have friends that cuss every other word. However, I do not care for it much. It is not so much offensive, just bothersome. Whether your daily vocabulary consists of several cuss words or it is just the occasional â€Å"shit† in a fit of anger or pain, everyone is guilty of it. Who hasn’t accidentally let a word slip when they slam their finger in a door or stub their toe on the coffee table? Is this impressive, of course not. There used to be a day that when you said â€Å"shit† in public, it was like exploding a bomb in public; people would fall silent, staring at you with half-angry open mouths. Mot hers would clap their hands over their children’s ears and push them away from you; desperately trying to keep their kids form such language. But today, we’ve fallen. Sure there are still a few people that cringe at the sound of vulgar language, but not many. In the 1970’s, George Carlin delivered a monologue citing seven words that you could never say on network television. Now, these words are being used regularly on network television. You could say that swear words have lost their impact, or, you could argue that our language has become downright coarse, offensive, and rude. Where do Cuss words come from, and what do they really mean? Originally it began as cursing. These are the words and phrases that you say in order to curse someone. It was some sort of supernatural or magical belief. Nowadays, people know that telling someone to â€Å"Go to Hell† will not actually curse them there, no matter how angrily it is said. The evolution of profanity continues to change with each generation. Some cuss words have somehow maintained their original meanings throughout hundreds of years, while many others have completely changed meaning or simply fallen out of use. The meaning behind a word is what makes it acceptable or unacceptable. Veterinarians use the word â€Å"bitch† on a regular basis, and think nothing of it. The meaning of the word is female dog. It is a fine word to use in that profession, or... ... the disrespect we have for everything, and our lack of manners, but also a growing rage that we obviously don’t know what to do with. Bad language is all over the media, informing in the attitudes of young people. It creeps into our workplace and into our homes. We need to find a way to diffuse some of this rage, and find more constructive ways to express it.   Ã‚  Ã‚  Ã‚  Ã‚  Words are very powerful and word usage is extremely important. Unfortunately, we are living in a society that seems to have forgotten the basics of language. Our growing tolerance of swear words is not a sign of progress, it is a sign of how we have lowered our standards. I am not saying that I am completely innocent. I do not cuss on a regular basis, but when I drop something heavy on my foot the expression â€Å"Darn It† just doesn’t seem to cut it. The fact that we even have words that are considered â€Å"profane† is silly. Words are words, and nothing more. They only exist to describe things. The words poop, crap, and shit all mean exactly the same thing. Why on earth is one of them incorrect to use and the others not? It may not make sense, but that is the way it is and it probably always will be.

Developmental Disabilities

Developmental disabilities may become apparent before the age of 22 and thus may cause physical or mental limitations. Developmental abilities involve mental retardation, epilepsy, autism, cerebral palsy and other neurological impairments. In the result people may have either limited mobility or limited ability to take care of their physical needs. Nowadays people suffering from developmental abilities, especially in older age, face social challenges, though have the opportunity to enjoy a full and active life.All they need is understanding, encouragement and readiness of family members to help them to become part of their community. Therefore the project will work out new initiatives and ideas how to expand and strengthen the support system of family. Furthermore, the project will provide better understanding of management and support of family members and will contain relevant materials to share with families. Moreover, the project aims at assisting in future planning, trusts, will s and guardianship.The study thus will provide unique knowledge about elder people suffering from developmental disabilities. The objectives of the study are to improve family- directed support and to provide technical assistance in defining personal needs, plans as well as implementation of programs and evaluation of the results. Furthermore, the specific goals of the research is to strengthen programs aimed at providing families with abilities and proper knowledge how to take care of elder members suffering from developmental disabilities.The present project will be assessed through the methods of description, case study and desktop research. A literature search revealed over 150 articles and books on the managing and supporting people with developmental disabilities. Over two-thirds of these were prescriptive and written by practitioners, consultants and journalists. There is also a steady flow of research and ideas on how to improve the quality of family support. References Hollins S, Sireling L. (1990). Working Through Loss with People Who Have Learning Disabilities. Windsor: NFER-Nelson. Kloeppel D, Hollins S. (1989). Mental Retardation and Death in the Family. Death Studies, 13, 31-38. Stroebe, M., Storebe, W., Hansson, R. (1993). Handbook of Bereavement. Cambridge, England: Cambridge University Press.

Definition and Examples of a Persona in Literature

A persona is a voice or mask that an author, speaker, or performer puts on for a particular purpose. Plural: personae or personas. Persona comes from the Latin word meaning mask, and may also be referred to as an implied author or an artificial author. Author Katherine Anne Porter explained the relation between writing style and persona: A cultivated style would be like a mask. Everybody knows its a mask, and sooner or later you must show yourself — or at least, you show yourself as someone who could not afford to show himself, and so created something to hide behind (Writers at Work, 1963). Similarly, essayist E.B. White observed that writing is a form of imposture. Im not at all sure I am anything like the person I seem to a reader. Various Observations on Persona [L]ike the I of the lyric and of the real and invented autobiography, the I of the essayist is a mask.(Joseph P. Clancy, The Literary Genres in Theory and Practice. College English, April 1967)The artful I of an essay can be as chameleon as any narrator in fiction.(Edward Hoagland, What I Think, What I Am)He who speaks is not he who writes, and he who writes is not he who is.†(Roland Barthes, quoted by Arthur Krystal in Except When I Write. Oxford University Press, 2011)You may rely on it that you have the best of me in my books, and that I am not worth seeing personally — the stuttering, blundering, clod-hopper that I am.(Henry David Thoreau, letter to Calvin H. Greene, February 10, 1856)Writing is a form of imposture. Im not at all sure I am anything like the person I seem to a reader. . . .[T]he man on paper is always a more admirable character than his creator, who is a miserable creature of nose colds, minor compromises, and sudden flights into nobility. . . . I sup pose readers who feel friendly toward someone whose work they like seldom realize that they are drawn more toward a set of aspirations than toward a human being.(E.B. White, Letters of E.B. White, ed. by Dorothy Lobrano Guth. Harper, 1976)[T]he person in a personal essay is a written construct, a fabricated thing, a character of sorts--the sound of its voice a byproduct of carefully chosen words, its recollection of experience, its run of thought and feeling, much tidier than the mess of memories, thoughts, and feelings arising in ones consciousness. . . . Indeed, when personal essayists write about self-embodiment in the essay, they often acknowledge an element of fabrication or of artful impersonation.(Carl H. Klaus, The Made-Up Self: Impersonation in the Personal Essay. University of Iowa Press, 2010) Perlman on Person and Persona Persona is the Latin word for the masks used in the Greek drama. It meant that the actor was heard and his identity recognized by others through the sounds that issued from the open mask mouth. From it the word person emerged to express the idea of a human being who meant something, who represented something, and who seemed to have some defined connectedness with others by action or affects. (We still use person to connote this: we say of an infant who begins to show awareness of self in relation to others, Hes becoming a person.) A person makes himself known, felt, taken in by others, through his particular roles and their functions. Some of his personae — his masks — are readily detachable and put aside, but others become fused with his skin and bone.(Helen Harris Perlman, Persona: Social Role and Personality. University of Chicago Press, 1986) Hemingway's Public Persona According to those who knew him well, Hemingway was a sensitive, often shy man whose enthusiasm for life was balanced by his ability to listen intently . . . That was not the Hemingway of the news stories. The media wanted and encouraged a brawnier Hemingway, a two-fisted man whose life was fraught with dangers. The author, a newspaper man by training, was complicit in this creation of a public persona, a Hemingway that was not without factual basis, but also not the whole man. Critics, especially, but the public as well, Hemingway hinted in his 1933 letter to [Maxwell] Perkins, were eager automatically to label Hemingways characters as himself, which helped establish the Hemingway persona, a media-created Hemingway that would shadow — and overshadow — the man and writer.(Michael Reynolds, Hemingway in Our Times. The New York Times, July 11, 1999) Borges and the Other Self It is to my other self, to Borges, that things happen. I walk about Buenos Aires and I pause, almost mechanically, to contemplate the arch of an entry or the portal of a church; news of Borges comes to me in the mail, and I see his name on a short list of professors or in a biographical dictionary. I am fond of hourglasses, maps, 18th-century typography, the etymology of words, the tang of coffee, and the prose of Stevenson; the other one shares these enthusiasms, but in a rather vain, theatrical way. . . .I cannot tell which one of us is writing this page.(Jorge Luis Borges, Borges and I)