Post-Compulsory Education and Training Essay Example for Free

Post-Compulsory Education and Training Essay * Learning Objectives Justify your choice by reference to the cohort analysis, scheme of work and the assessment schedule.LO1 To be introduced to the meaning of Autism and Asperger’s syndrome, and compare and contrast the difference between the two conditions.LO2 After watching a video, all learners will be able to discuss the triad of impairments linked with autism.LO3 All learners will be introduced to the term ‘Theory of Mind’ and how this develops in children.LO4 All learners will be able to identify the key components of The Sally Anne study. Most learners will able to summarise its strengths and weaknesses in supporting Theory of Mind.LO5 Most learners will correctly answer an OCR past paper exam question on Baron-Cohen.LO6 All learners will consolidate their learning with an interactive plenary on the topic covered in today’s session.The aims and objectives in this lesson were chosen in order to relate to OCR Psychology (3.2 AS Unit G542: Core Studies) Allowing the students to be aware of this link to the assessment criteria will keep them motivated, and give their learning purpose to aim for a long term goal. The Learning Objectives have been differentiated to allow for learning to take place at all levels, and to allow for inclusion for all, despite the fact that candidates may have difficulties i.e. one learner has Asperger’s syndrome, and another has dyspraxia. These objectives will be achieved using all 3 VAK learning styles.(Honey and Mumford 1992)The learning objectives are differentiated and specific, measureable, achievable, realistic and timely (SMART) to ensure accessibility (Wallace, 2011) * Teaching and Learning Activities Justify your choice of methods and resources to be used by matching them against learning objectives using reasons and evidence from appropriate models of learning. The teaching and learning activities for this session have been designed to introduce a new topic in Psychology, Core Studies. As this is an introductory lesson to a topic, I have prepared learning activities which are accessible to all the learners, to ensure that nobody is excluded at any time. (Wallace 2005) All activities are varied to accommodate all levels and learning styles (VAK) as pupils are often a combination of visual, audio and kinaesthetic. (Claxton 2002)I will promote inclusiveness during the session by having a list of key words if at any point they are unsure; have specific instruction written down as well as reading them out. Hand-outs will be given out with a choice of colour, and supporting any learners one to one where necessary. I intend to keep learners motivated by making everyone feel comfortable and safe in the classroom environment, ensuring a sense of belonging and to meet all learners self-esteem needs encouraging praise and independence where necessary and promote optimism so that all students are self-actualised (Maslow 1908-1970) Ensuring the humanistic learning theory is addressed, I will allow drinks of water when necessary, and provide fairness and equality for all learners. (Disability and Equality Act 2010)Room set-up- Arrange the tables into groups. This will encourage all learners to get involved (every learner matters) and to make sure that no learner is seated with their back to me and that I am not sitting behind a desk as this creates a physical barrier between the teacher and learner and encourages eye contact. (Wallace 2007)Questioning- Non directed questions will be asked at the beginning of the session to assess prior knowledge, which will be demonstrated through a thought-shower on the board (visual and auditory). Through-out the session the questions will become directed and scaffolded (Bruner, cited in Jarvis 2004) to assist in gaining knowledge and answers from learners.When asking questions, use learners names your and prior knowledge of their ability and personality (as I have never taugh t this class before, they have been given name stickers) This ensures that learners feel valued and supported. (Keeley-Browne 2007)Pre-starter – I have included a pre-starter activity, as with it being a 3pm class, students can often come in lethargic and unmotivated. They often need some immediate stimulation, to wake them up and encourage a productive lesson.Starter – We will create a though shower (visual) on the board to assess prior knowledge of this new topic being covered, and it gives the learners ownership of their own work, as their input is what gets written on the board. Prior learning experiences have the potential to enhance or interfere with new learning’ (Knox, 1997)Main Learning Process – The majority of the lesson is based around PowerPoint slides, videos and group discussion/work. This ensures that all three domains of learning are being addressed – cognitive (thinking in their groups and whilst listening to the presentation), affective (feeling how autistic people may feel after watchi ng the video clips), and psychomotor (applying their knowledge in a hands on task) (Bloom et al, 1971) This adopts VAK learning styles. Everyone benefits from using a wide variety of styles also known as whole brain learning. (Coffield et al 2004) When learners make an interesting observation/ comment, or get an answer correct, it is vital to give them praise. Many learners in sixth form can have low self-esteem; therefore giving out praise when warranted can enhance their feeling of self-worth and competence by acknowledging their qualities and strengths (Vizard 2007.)Group Work Group work can be a largely effective way of learning, taking strengths from each individual and combining it for model answers. In this session, learners will be split up into groups for part of the task, ‘As well as being an enjoyable activity in itself, this provides huge opportunities for learning. It requires that learners process the new material and make personal sense of it.’ (Petty 2009) From the cohort analysis, I am aware of who works well and encourages/motivates each other. The learners are aware of this themselves, and usually sit with the people/person they work well with. If people are distracted then I will take action by changing the group dynamics. In their groups they will discuss one of the triad of impairments from their prior knowledge and information given on a video. This shows that they can apply the knowledge they have gained the thought shower and video into a new situation. (Blooms Taxonomy – application of knowledge.) Once they have completed their group work, they will now share and discuss their ideas with the rest of the class, by sticking their A3 sheet of ideas on the board. (Think, pair, share.)Hand-out- All work sheets are on coloured paper (if possible), which aids any dyslexic learners without them standing out, as the whole class will have the same colours. ‘Everyone who can benefit from further education should be able to participate’ (John Tomlinson 1996) The PowerPoint presentation will be accessible on Moodle for future reference and revision purposes.Assessment for Learning- A past paper question will be asked in order to assess their level of understanding from the lesson. They will complete the question under exam conditions (no notes or talking, and timed) and peer mark the question. They will be given feedback on which is a model answer, and which isn’t sufficient, and I will collect in and monitor progress. It is imperative feedback is given (Black William, 1998).Plenary- All learners will participate in an interactive activity to assess and ensure learning has taken place (formative assessment.) Looking at the cohort analysis, and after a couple of lessons observing this group, I have noticed they work well as a whole class and enjoy interactive plenaries. The Deal or No Deal task will allow learners to gain feedback from the teacher, peers and feedback from themselves as they answer questions. It has been suggested that formative feedback has some of the most positive effects on learners. The greatest effect is on the weakest learners (Black and William, 1998) The group can become a little bit chatty and excitable when completing a group task, therefore I will need to manage the noise levels.Rewarding good behaviour and achievement allows learners to be respected and valued for who they are, how hard they have tried and what they have achieved and build up a mutual and trusting relationship between the teacher and learner, allowing the learner to feel safe and valued in class. This is expressed as ‘unconditional positive regard’ (Rodgers 1983)Try and make students feel good about themselves, even when you are criticising their work/ answer and trying to guide them onto the right path (two stars and a wish) Articulate the standards you have identified, i.e. elaborate what will actually happen in terms of teaching and learning activities against each standard, Do not just list or re-state the standards you have ticked off.You may group related standards together where they are addressed through one activity.Standard(s): AP 4.1 Use relevant theories of learning to support the development of practice in learning and teaching.Articulation: Use of Maslows Hierarchy of Needs. Proving a safe and comfortable learning environment, using praise to build up self- esteem on order to achieve self-actualisation. Blooms Taxonomy was also used applying the knowledge from the video clips and PowerPoint in the session to the group work on The Triad of Impairments.Standard(s): AP 4.2 Reflect on and demonstrate commitment to improvement of own personal and teaching skills through regular evaluation and use of feedbackArticulation: I write a reflection after every taught session. I plan to use De Bonos Thinking Hats after this session, using the feedback gained on the scales given to the class at the beginning and the end of the session.Standards(s): AP 6.2 Demonstrate good practice through maintaining a learning environment which conforms to statutory requirements and promotes equality, including appropriate consideration of the needs of children, young people and vulnerable adults.Articulation: This lesson meets the statutory requirements of a teacher required by Cronton Sixth Form College, meets the requirements of the examining body. The lesson filly includes all learners, and the cohort analysis has allowed me to be aware of individual needs and requirements.Standard(s): BP 1.1 Establish a purposeful learning environment where learners feel safe, secure, confident and valued. Articulation: Again this links to Abraham Maslows ‘hierarchy of needs’, providing a safe classroom environment, allowing for students to pass through all the stages to become self-actualised. Applying Rodgers ‘unconditional positive regard’ throughout the session, rewarding and praising good behaviour will allow for learners to feel valued and respected. Standard(s): BP 2.1 Provide learning activities which meet curriculum requirements and the needs of all learners. Articulation: The aims and objectives in this lesson were chosen in order to relate to OCR Psychology (3.2 AS Unit G542: Core Studies)The Learning Objectives are all differentiated, which will meet all learners various needs so ensure learning takes place. This links into Every Learner Matters.Standard(s): BP 2.4 Apply flexible and varied delivery methods as appropriate to teaching and learning practice.Articulation: There are many different delivery methods used for learning in this session, allowing for all types of learners to learn and achieve (VAK.) Such methods used are throughout the session are thought showers, questioning, practical hands-on activity, video clips, group work, peer assessment an interactive assessment activity.Standards(s): BP 3.1 Communicate effectively and appropriately using different forms of language and media, including written, oral and non-verbal communication, and new and emerging technologies to enhance learningArticulation: I will use various forms of communication during the session. Using theory on paralanguage to ensure my body language is open, e.g. no folded arms, eye contact and make sure I circulate the room so everybody feels included. I will have a steady pace, clarity and tone in my discussion and instruction (behaviourist). All meta-language used is listed on a key terms sheet to help with meaning of words, and the PowerPoint is clear and concise. I have implemented video clips on PowerPoint to keep up with emerging technologies, as oppose to me talking all of the time. This breaks up the lesson into chunks (cognitive theory) which makes them gain fulfilment and enjoyment out of the tasks (humanism)Standard(s): BP 3.3 Structure and present information clearly and effectively.Articulation: All information is presented on a PowerPoint, on hand outs and also read out so that it is clear for all students and their learning style. The lesson is all structured, differentiated and timed to allow for learning to take place in all learners. The presentation (including video clips) will be made available on Moodle for future reference and revision purposes.Standards(s): BP 5.1 Select and develop a range of effective resources, including appropriate use of new and emerging technologies.Articulation: The resources chosen for this session are varied in learning styles (VAK) and include all 3 theories of learning to ensure the lesson appeals to all, and doesn’t get monotonous. There is a PowerPoint presentation, group work, key words hand-out, a booklet to fill in whilst being accompanies by new and emerging ICT technologies. This includes video clips in the PowerPoint and an interactive Deal or No Deal Plenary.Standards(s): CP 1.1 Ensure that knowledge of own specialist area is current and appropriate to the teaching context.Articulation: I have ensured my knowledge of the topic autism is totally up to date and current. Figures and facts change yearly, so it is important to keep up to date. I have broken down my knowledge of Psychology from my degree to A level standard, so it can be inclusive to all learners, whilst still capable of stretching and challenging the more able learners.Standards(s): DP 1.2 Plan teaching sessions which meet the aims and needs of individual learners and groups, using a variety of resources, including new and emerging technologiesArticulation: This session meets the aims of the curriculum for this module, meets the schemes of work and is differentiated so that it is inclusive to all learners in this cohort (from Aspergers syndrome through to gifted and talented student). The resources compliment the plan and are varied in learning style and theory, whilst adopting new technology methods, such as interactive games for plenary in formative assessment.Standards(s): EP 1.3 Develop, establish and promote peer and self-assessment tools, including where appropriate, those which exploit new and emerging technologies. Articulation: This lesson will consist of them self-assessing their initial knowledge of autism, whilst continually self-assessing through the lesson. I will reinforce this with praise at correct answers and good feedback, and guide it through direct and non-directed questioning. Peer assessment will take place during the formative assessment (past paper questioning) Standard(s): EP 2.1 Apply appropriate methods of assessment fairly and effectively.Articulation: Directed and non-directed questioning is used; giving learners at all levels the opportunity to participate in the lesson. The Deal or No Deal formative assessment task allows all learne rs to participate, and makes assessing what they have learnt interactive and fun.

Effects of Art Censorship on Society

Effects of Art Censorship on Society The manner in which art provides an opening of the paths of human views and development through art libraries, and the limiting effects of censorship Contents (Jump to) Chapter 1 Introduction Chapter 2 – Rationale Chapter 3 – Methodology Chapter 4 – Literature Review Chapter 5 – Conclusion Bibliography Chapter 1 Introduction In understanding the realm of artists, the implications of art, artists, and the dilemmas faced by art libraries, and museums in selecting and acquiring pieces for their collections, one needs to have an appreciation of the realm in which art exists. Leo Tolstoy stated that â€Å"to define art, it is necessary .. to cease to consider it as one of the conditions of human life† (California State University Long Beach, 2005). Egan (1979, p. 166) advises that Tolstoy’s views on art were based on â€Å"the contention that good art consists of an individual consciously passing his feelings on to others, or provoking in them a spiritual union with the artist and other readers†. There are critics of this view in that they believe it dangerous as it â€Å"opens the flood gates to art for ethics and politics thereby reducing art to a disguised socialism† (Egan, 1979, p. 166). Regardless of one’s views and or the critics one sides with, art represents a phenom enon that affects us all. This dissertation proposal shall take a look into the intriguing world of art, in terms of its quality, censorship, and thus selection by art libraries as a function of the quest to uncover, and provide students as well as the general public with materials that provoke a depth, and range of thinking. The removal, and or withholding of data and information from the public as a result of some type of control body or group represents censorship (Encyclopedia Britannica online, 2007). Harer and Harris (1994, p. 2) advise that censorship represents a phenomena that is â€Å"conflict between powerful opposing forces in society that can threaten its very foundation and ideals†. Their definition goes on to add â€Å"society disagrees as to what defines the limitations of creativity and expression and who should decide what has passed beyond the limits† (Harer and Harris, 1994, p. 2). The foundation for this examination lies in their advising â€Å"It is this power struggle tha t has the potential for reordering our democratic and constitutional principles, especially if a monopoly of power is secured by one of these forces or the struggle is won in the political arena by those who wish to restrict† (Harer and Harris, 1994, p. 2). The dissertation proposal being recommended is based upon this underlying principle, and the broader considerations and facets as represented by the selection and exhibition of art in libraries, and related institutions as a result of their artistic quality and other aspects, as an exercise to delve beneath the surface and extract deeper meanings and understandings. Art, within the context of its selection and presentation represents contemporary as well as past works of art. The process â€Å"enables us to think about the ideas of a range of writers and theorists, and in turn how their work has interacted with the visual† (Arnold, 2004, p. 76). Art has an importance within cultures in that it exposes us to the views, ideas, thoughts and visualization of a broad range of thinking, ideas and concepts that are different and in many instances foreign to our own. It opens us up to the possibilities and potentials to question our own views, ideas and concepts as well as strengthen them through exposure. Art, as is also the case with the human race, entails evolution and growth. What was once looked upon as lacking artistic qualities by whatever standards that were invoked, depending upon the period of history own looks at, change, as societies, and people evolve, and thus so do the broadening of their views and ideas. Art has evolved from its earliest forms â€Å"as a vehicle for religious ritual† as represented by the paintings on caves located in France to the Sistine Chapel, â€Å"art has served religion† (Cornell University, 2005). It has also served â€Å"as a commemoration of an important event, such as represented by the â€Å"coronation of Josephine by Napoleon (Cornell University, 2005). Additionally, art has also â€Å"served as propaganda or social commentary† to attempt to â€Å"persuade us toward particular viewpoints or actions promoted by public or private institutions† as represented by â€Å"political parties, lobbyists, governments, or religious groups† (Cornell University, 2005). Art may be used to record visual data, create works of beauty, as a means to storytelling, to convey emotion and to interpret (Cornell University, 2005). The uses and purposes of art are to reach us in some manner on some level, and communicate. As this represents be ing, and or having exposure to views, ideas, concepts, images and points of view that differ from ours, thus censorship for mature adults, and in an educational setting seemingly represents a closing of possible avenues of exploration, and thoughts on the path to awareness. Chapter 2 – Rational The last sentence thus represents the rationale for this dissertation proposal. ‘The manner in which art provides an opening of the paths of human views and development through art libraries, and the limiting effects of censorship’. It is impossible for a title to encompass all of the linked salient facets that comprise the preceding, however, it is felt that such a direction does provide for the study to examine the problems and considerations that mangers have in the selection of materials for art libraries as well as the implications arising from same in terms of the potential dilemmas resulting from facets such as artistic quality, view, and of course censorship. The preceding represents a look at as well as under the surface of the world of art to glean a picture of how art is screened and presented to us, and how these judgmental factors work. The broad view encompassing art libraries, galleries, museums and specialized art libraries is felt that it will show the d ifferent manner in which this is approached on many levels. The foregoing means, mainstream, fringe, popular, conservative, historical, classical and other forms. Through a broad based look, the examination should uncover the nuances of the art world, and the degree to which censorship, either overt, or in the eyes and minds of the beholders exists. Chapter 3 – Methodology The examination of the field of art from the perspective of the indicated rational will entail the utilization of a broad range of sources and methodologies. Secondary research provides the opportunity to review a large range of information as gathered by differing sources to equate elements, and views that might not have occurred to the researcher in their initial analysis, and or approach (Patzer, 1995, p. 2). While secondary research does permit one to potentially explore a broader range of data, information, views and examples, its limitations are that not everything that exists can be looked at, in addition to some facets of the research being dated, and even outmoded by new developments and approaches that have yet to be converted to literature sources. Secondary research does enable an individual to obtain a grasp of the issues, circumstances, and issues, along with inculcating one as to the broad as well as nuance factors (Myers, 2005). Primary research is beneficial in gaining first hand information on trends, developments, new occurrences, and related facets that have not yet made their way into publishing circles or common use. It also permits the gleaning of information directly from sources, provided the methodology, survey, questionnaire, and or interview session has been well prepared and is balanced in its approach. However, the problem with primary research is represented by the limitation in terms of the field of respondents. If a broad based survey, and or questionnaire methodology is utilized, sufficient time needs to be devoted to the gathering of source lists, survey, and or questionnaire preparation, mailing, response, and correlation. In terms of preparation, it is probably best to enlist the aid and assistance of a few members within the field to help with the preparation of questions, and or areas as well as the proper syntax, and order of presentation in order to impact confidence in the responden ts that the survey is indeed valid in terms of its base and concepts. In the case of this type of examination, it is recommended that both approaches be utilized in order to gain an accuracte understaning of the surface aspects that can be readliy, and or easily seen or gathered as a result of secondary sources. Primary sources thus represent a look below the surface, asking for facets that might not have been covered in the secondary data as well as potential new areas as made available as a result of said secondary research. Chapter 4 – Literature Review Kidd (2003) provides a summary of Robert Mapplethorpe in referring to him, along with Andres Serrano as the pair of artists â€Å"†¦who catapulted the National Endowment for the Arts (NEA) into the crisis that is widely referred to as the culture wars of the arts. As a result, Mapplethorpe is now generally associated with a particular kind of obscene art†. Kidd (2003) sees this label as being unfair as the circumstances surrounding the National Endowment for the Arts were a result of other organizations that made the decision to show the artist’s work (Kidd, 2003). Secondly, Kidd (2003) explains that â€Å"Mapplethorpe’s relationship with obscenity was a development of the culture wars and not a fundamental dynamic of his work†, and that the artist’s history indicates â€Å"an uneasiness about including his sexually explicit, homoerotic, and sadomasochistic photographs amongst artistic collections of his work†. The foregoing outcome was precipitated by letters, and a campaign initiated by the American Family Association (AFA) that focused on the United States Congress concerning Serrano’s photograph titled â€Å"Piss Christ† which depicted a plastic crucifix submerged in the artist’s urine, thus setting off a debate over his work and suitability for a grant by the National Endowment for the Arts (Inde, 1998, p. 100). The escalation of the debate included Mapplethorpe’s exhibit on the same venue, which was canceled as well, in a decision rendered by the Corcoran Gallery Board of Trustees who felt that exhibiting his works might jeopardize future NEA funding (Inde, 1998, p. 100). In Mapplethorpe’s defense, regardless of one’s personal views and opinions concerning his art, a follow up exhibit after the Corcoran Gallery cancellation that was held by the Washington Project of the Arts saw some fifty thousand individuals view his work with only twelve co mplaints being registered (Inde, 1998, p. 101). And prior to the Corcoran Gallery exhibit, Mapplethorpe’s works were shown in both Philadelphia as well as Chicago in the United States â€Å"without major incident or comment†. The underlying current with respect to art, as we are reminded by Nichols Fox, is that (Inde, 21998, p. 102): â€Å"Art can be strong stuff. In any totalitarian regime it is one of the first things suppressed. In our condition of moral superiority as a democratic society we have prodded the Soviet Union for years to loosen its hold on its writers and painters. Now it is doing so at precisely the same moment that our own tolerance for dissent appears to be weakening.† Art, in varying forms and degrees is all around us all the time. It is present in the shape of the vehicle we drive, the coffee maker in the morning, the graphics in video games, and in every object that we use. These common and everyday versions of art encompass our world. Art, in the sense of the context of this examination, is subjective. It is open to the interpretation of its audience and critics (Esaak, 2006). Art, is what we think it is, or, what a number of people think it is (Witcombe, 2005). There is no one singular definition that satisfies all the contexts, and in order to get a grasp on it, it is generally thought that it is better to see it in terms of â€Å"the way something is done† (Witcombe, 2005). In the context of this examination, the definition of art has its roots â€Å"in the 15th and 16th centuries in Italy† whereby art comes to represent â€Å"a collective term encompassing painting, sculpture and architecture†, which was later expanded so as to include music as well as poetry (Witcombe, 2005). It is from this basis that the decorative arts as well as crafts such as metalworking, furniture making and other utility forms are excluded, and an artist differentiated from a craftsman (Witcombe, 2005). And while a small cadre of one’s friends, and or associates may revere an individual as an artist, the process in terms of the art world, meaning the recognized channels of sales that include galleries, private collections, curators, museums, libraries and other modes whereby values are established, means being or becoming recognized (Crawford, 2005). Exhibitions such as Mapplethorpe has participated in, put his art in front of a broad cadre of the public as well as art professionals thus establishing him in this circle, titled the art world. And as the acceptance, and or reputation spreads, so does the clamor for the artist’s pieces. And such represents the process via which galleries, museums and art libraries enter the process. University art libraries are an integral part of the art recognition process, bringing new artists into the pre-professional and professional mainstream through providing visibility, and a form of recognition (Johnson, 2006). The process of ar t selection at universities, galleries and museums takes into account the broad context of the history of the institution, its historical foundations, reputation as being progressive, or conservative, the links to supporters, and its rationale for operating (Johnson, 2006). The theme and direction of university art library collections is a product of the focus, and image the universities seek to project as well as the types of artists, and works that they look to attract (Johnson, 2006). This process entails the overall library’s purpose, which is represented by the university, its faculty, collection history, and fit into the broader scheme of academia. The aspect regarding artistic recognition represents an extremely important area for an artist. The example as drawn by van Gogh, and other artists whereby the withholding from the world, the merits of their views would lessen us all (ProgressiveLiving.org., 2007). Critics in the world of art are there to evaluate works, and to â€Å"separate the wheat from the chaff† (ProgressiveLiving.org., 2007). Their position is to wade through the offering of artists, and render opinions on their work as qualified professionals to supposedly shield us from works, and or artists whose level of development is not yet refined, or noteworthy. This represents a highly subjective process that the managers of art libraries, museums, and other artistic areas review and consider in their decisions to acquire, and or showcase works of art. The process is far from perfect, yet at the same time it is far from being flawed. It, as an open system that allows for the inputs, views and opinions of a div erse range of individuals to comment upon and showcase what they believe is art. Critics do not always represent the best source or views on what might constitute art, and thus the broad array of art libraries, galleries, museums and literature provides the opportunity for open debate or selection. Such was clearly demonstrated by the Mapplethorpe situation whereby the authorities had to reverse their field. The depth of the preceding represents an area for further examination and research. Johnson (2006) advises that university libraries promote themselves as well in the broader sphere of other universities, galleries, and museums of all sizes and renown. The universe is a competitive one in which past selections, progressiveness, qualities and track record of selections, connections, exhibition power, personnel, space, facilities, web site, and a host of other facets enter into the overall considerations. And while artists need these outlets, university art libraries need new, present, upcoming, and established artists to enhance their standings and reputations (Johnson, 2006). Just as artists must promote themselves, universities must also follow this course through providing, and showcasing the unknown, unexpected and as a location whereby the newest, best, and unusual can be found. An example of the preceding is represented by Birmingham University’s Chrysalis Project, whereby it is digitizing all of the works ever held by the university as well as all of th e 26 programmes that are â€Å"published annually by the† university’s â€Å"Society of Arts School of Design between 1978 and 1902†. The goal is to broaden the appeal of the University’s art library on the Internet as part of its self-promotion program. Within this scope are the managers who must select as well as go after the new, unique established, up and coming, unknown, known, and hot artists. An example of the foregoing is provided by the art system in Russia. There is and has been a large cadre of art libraries in Russia that have been, and are in the rise (Kolganova, 1999). More than repositories of books and printed materials, these libraries hold engravings, photographs and art works. The IFLA (2005) newsletter advised that â€Å"Russian art libraries† are engaged in a diverse series of â€Å"programmes, projects, exhibitions, conferences and workshops† aimed at sharing as well as securing artistic works. The preceding represents a system of coordination in Russia that seeks to display art works in addition to literary materials. The university art acquisition system is far from being national in scope, it is international, and needs to be in order to be relevant (IFLA, 2005). Olga Sinitsyna, the Chair of the Art Libraries Section of the IFLA, brought such a development to light when she announced that one of her goals was to get the Russian art libraries more involved in IFLA activities and participation (IFLA, 2005). The IFLA (2005) is comprised of over 1700 associations, institutions, and individuals on a global basis that includes most UK universities as well as Birmingham University. The preceding scope of the manner in which university art libraries must reach, and operate provides a look into the highly sophisticated nature of the systems involved. And while no such formal organized inter cooperation methodology exists in the United Kingdom, as per the Russian example, the informal, yet organized system of competing interests in the acquisition and display of art, nevertheless is a reality. University art library compete with themselves, and private art libraries as well as galleries and museums, with the prize being their reputations, and selection processes. This creates unique, and difficult problems and challenges for art managers. They must be progressive, provocative, on the leading edge, contemporary, modern, classical, and innovative in not only varying their pieces, they must have the network and contacts to be fed pieces in a highly competitive arena, yet make selections that have there base in ethics as well as contemporary moral, and other values. Thus, managerial problems involved in selecting works represents a key aspect of the research in that it requires the utilization of questions to obtain views, methods, pr ocedures and techniques. The insights concerning the following areas, were not located as a result of secondary sources, thus calling for the use of primary research to uncover the techniques, approaches, methods, considerations and other aspects utilized by managers in carrying out their functions. From a review of literature such as Johnson (2006), Kolganova (1999) and the IFLA (2005), it was postulated that managers have the following problems, and considerations in the selection of works and artists: Overall Art Library Developmental Considerations As advised by Johnson (2006), and Kolganova (1999), as well as shown in excerpts of the IFLA (2005) newsletter, art libraries do not exist in a vacuum. They must interface with the outside world in terms of competing for new art talent, as well as other types of selections across a broad spectrum of art types. Art Types In planning for the future, the manager needs to be aware of the various types of art that other libraries have, and are presenting also focusing upon what direction they might take in the future to avoid being caught in a battle for talent and selections in a finite universe. Recent Trends The manager also encounters the problem of being on top of the recent trends, not only in terms of what other art libraries and museums are doing, but also in terms of artist development, contemporary trends, new explorations, and what the public itself is finding intriguing. The key to success is being ahead of the field in terms of recognizing, and equating what new developments are on the verge of exploding into new trends. This potentially represents the most important singular facet of their work in being progressive, forward looking, and daring. Birmingham University has developed such a reputation over a long period of time thus helping to ease the managers task of finding new talent as a goodly part of the art world in this regard comes to the university as a result of its positioning, and progressiveness. Understanding as well as responding to such developments represents an extremely important facet in being in front of new trends as a leader, as opposed to following. Such takes on a national as well as international flavor in having the resources, contacts, and pulse beat on a global scale. University and Public Perceptions In the quest to be progressive and leading edge, the manager also must be cognizant of the potential effect that a particular type of display, acquisition and or exhibition could have upon the university, alumni, and public opinion. Birmingham University’s selection of Mapplethorpe is such an example. Controversial prior to his works appearing at the university in 1998, the institution was involved in a major controversy as a result. A book on Robert Mapplethorpe, and American photographer, a homosexual who died of aids in 1988, was taken out on loan from the university library by a Spanish woman for utilization as a piece of research on a thesis representing â€Å"art versus Pornography† (Weaver, 1998). The controversy developed over two photographs in the book, titled â€Å"Helmut and Brooks, NYC, 1978, and Hank and Tom, Sausalito, 1977†, who were engaged in what were described by the police as â€Å"unusual sexual acts of an extreme nature† (Weaver, 1998). In a decision that took over eleven months to reach, the university was cleared of violations of the Obscene Publications Act, based upon the view that â€Å"the effect of the book would not be to tend to deprave, and corrupt a significant number of those who are likely to read it† (Weaver, 1998). The preceding example illustrates the need to be progressive as well as forward thinking in creating an environment of academic as well as artistic freedom that is justified against the broader, and wider precepts of the outside world. Budgetary Constraints Managers are also faced with the prospects of working within budgets that may be less than adequate in terms of competing with other universities, art libraries, museums, and specialty libraries. Ethics and Morality The Mapplethorpe example represents one whereby the ethics, and morality of the university can be brought into question as a result of artistic selections. Walking that fine line represents a daunting task, and problem to be addressed by managers in that being too conservative could leave them on the outside looking in at more progressive moves, and thinking as represented by other institutions. The foregoing represent a few of the key areas regarding the problems faced by art managers in the running and administration of their function(s). Such therefore calls for additional research of a primary nature to discuss, and uncover the areas and aspects of problems, and concerns faced by managers in the administration of their duties. Said information was not seemingly located in a search of secondary research sources. Art does have a purpose. As a result â€Å"judgments about art need not be subjective, artists really are up to something, although its a complicated sort of something)† (ProgressiveLiving.org., 2007). The over riding fact regarding art that Mapplethorpe as well as other artists provide and open us up to is that â€Å"there is no disputing tastes† (ProgressiveLiving.org., 2007). Art is by nature subjective, and along with that â€Å"moral judgments are all subjective, and that the truth is purely subjective† (ProgressiveLiving.org., 2007). The preceding is the lesson provided by the Mapplethorpe example, and others concerning ethics, morals, and censorship. Understanding the realms of thinking that exist in the world represents a means to be less susceptible to them as a result of overall balance. Art exposes us to provoke as well as delight. Chapter 5 – Conclusion The world of art is a highly subjective field, in which the purpose, benefit, usefulness and or beauty is a representation of the beholder. Leo Tolstoy (California State University Long Beach, 2005) advises us that â€Å"to define art, it is necessary .. to cease to consider it as one of the conditions of human life†. Egan (1979, p. 166) states Tolstoy’s views were based upon â€Å"the contention that good art consists of an individual consciously passing his feelings on to others or provoking in them a spiritual union with the artist and other readers†. Mapplethorpe’s case in terms of Birmingham University brings forth the specter of censorship that Harer and Harris (1994, p. 2) advise that censorship represents a phenomena that is â€Å"conflict between powerful opposing forces in society that can threaten its very foundation and ideals†. It harkens to what Nichols Fox states in that â€Å"Art can be strong stuff. In any totalitarian regime it is one of the first things suppressed† (Inde, 21998, p. 102). Art is what we think it is, and or what the artist is attempting to get us to think it is. It is subjective, and thus differing views hold differing passions. The point is, art is art! It is a collective term encompassing painting, sculpture and architecture†, which was later expanded so as to include music as well as poetry (Witcombe, 2005). Defying any singular attempt to completely encompass it, yet being a realm that can be understood. The dissertation proposal to develop into ‘The manner in which art provides an opening of the paths of human views and development through art libraries, and the limiting effects of censorship’, represents a means to equate facets of the world of art on many levels, yet tied to the realm itself. Bibliography Arnold, D. (2004) Art History: A Very Short Introduction. Oxford. Greenwood Press, Westport, CT., United States California State University Long Beach (2005) . What is Art?: by Leo Tolstoy. Retrieved on 19 May 2007 from http://www.csulb.edu/~jvancamp/361r14.html Cornell University (2005) The Evolution of Visual Art in the Modern Era. Retrieved on 20 May 2007 from http://char.txa.cornell.edu/art/introart.htm Crawford, A. (2005) Artists, know these people. 15 March 2005. Retrieved on 19 May 2005 from http://www.theage.com.au/news/Arts/Know-these-people/2005/03/14/1110649116983.html Egan, D. (1979) Leo Tolstoy, An annotated Bibliography of English Language Sources to 1978. Scarecrow Press, Metuchen, New Jersey, United States Encyclopedia Britannica online (2007) censorship. Retrieved on 20 May 2007 from http://www.britannica.com/eb/article-9108315/censorship Esaak, S. (2006) What is Art? Retrieved on 19 May 2007 from http://arthistory.about.com/cs/reference/f/what_is_art.htm Harer, J., Harris, S. (1994) Censorship of Expression in the 1980s: A Statistical Survey. Oxford University Press. London, United Kingdom IFLA (2005) IFLA Art Libraries Section Newsletter. Vol. 57. Retrieved on 20 May 2007 from http://www.ifla.org/VII/s30/news/art-newsletter57.pdf Inde, V. (1998) Art in the Courtroom. Praeger Publishers, Westport, CT. United States Johnson, K. (2006) The Art Library as Exhibition Space. Retrieved on 19 May 2007 from http://etd.ils.unc.edu/dspace/bitstream/1901/357/1/kirstonjohnson.pdf Kidd, D. (2003) Mapplethorpe and the New Obscenity. Vol. 30. Afterimage Kolganova, A. (1999) Museum Libraries as Part of the System of Libraries in Russia. Retrieved on 19 May 2007 from http://www.ifla.org/VII/d2/inspel/99-4koad.pdf Myers, E. (2005) Benefits and Limitations of Using Secondary Research Sources. Retrieved on 21 May 2007 from http://www.swlearning.com/marketing/gitm/gitm16-5.html ProgressiveLiving.org. (2007) Reflections Concerning the Purpose of Art and the Possibility of Objective Aesthetic Standards. Retrieved on 20 May 2007 from http://www.progressiveliving.org/Art_Theories_files/purpose_of_art.htm Weaver, M. (1998) University in clear over Mapplethorpe photographs. 1 October 1998. Retrieved on 20 May 2007 from http://www.telegraph.co.uk/htmlContent.jhtml?html=/archive/1998/10/01/nmap01.html Witcombe, C. (2005) What Is Art? †¦ What is an Artist? Retrieved on 19 May 2007 from http://www.arthistory.sbc.edu/artartists/artartists.html

Risk-Based Monitoring of Survival Data

Risk-Based Monitoring of Survival Data Zhang Zhizhuo Summary In clinical trials, on-site monitoring is traditionally used to validate trial data quality, reveal abnormal data and identify risk factors. But little evidence has found is has positive effect on bias reduction and precision improvement. Central monitoring is an alternative of on-site monitoring, which can identify sites with higher risks of bias, errors and deviations remotely and effectively. Time to event is commonly employed as endpoint especially in tumor therapy trial. Any factors that may reduce the accuracy and precision of survival data would lead to a biased trial result. So survival data can be a potential target for central risk-based monitoring. By revealing unusual pattern or inaccuracy of survival data in site level, risk sites can be identified. This study aims to establish an algorithm and a risk model for monitoring survival data and identifying risk sites, and to generate a reusable SAS program for future application of the risk model. Metrics of abnormal event count and proportion in each site will be served as monitoring target. Test for difference between proportions comparing each site with other sites will be applied on proportion data. For rare event, Poisson loglinear regression will be used for calculate relative risk of abnormal event occurrence between each site and other sites. Risk flag on particular site will be reported when a significant result occur. Table of Content Summary 1. Background 3. Objectives 4. Study Design 5. Methodology 5.1 Restructure datasets according to CDISC 5.2 Algorithm 5.3 Model validation and generalization 5.4 SAS Programming 5.5 Dataset 6. Expected outcomes References Appendix A Appendix B 1.Background In clinical trials, quality assurance including site performance and data validity is the essential foundation of maximizing precision of trial results. Varies types of error may occur in all aspect in clinical trials: design error, procedural error, recording error, fraud and analytical error [1]. Any factors involved with these errors are considered as risks. Different monitoring methods can be allocated to detect and reveal specific kinds of risks in clinical trials: trial oversight committee, on-site monitoring and central monitoring. Traditionally, data quality of clinical trials is validated by on-site monitoring. On-site visiting is an expensive monitoring approach which take approximate 30% of total trial costs in pharmaceutical industry [2]. However, 84% of the pharmaceutical industry and 89% of Contract Research Organizations (CRO) still rely heavily on practices of on-site visiting [3]. Despite this current situation, little evidence has found that on-site monitoring has significant positive effect on bias reduction and precision improvement in clinical trials. Recently, Food and Drug Administration (FDA) [4] published â€Å"Guidance for Industry: Oversight of Clinical Investigations—A Risk-Based Approach to Monitoring.† In this guidance, FDA encourages greater use of centralized monitoring practices. Using these approaches, sites with higher risks of bias, errors and deviations can be identified remotely. By only visiting sites of concerns instead of 100% source data verification, costs and time can be reduced effectively. So far, many statistical methods have been developed to be employed in centralized monitoring, which are proved to be efficient and reliable [5-9]. These statistical methods form the cornerstone of risk-based monitoring. In clinical trials, time to event is commonly employed as endpoint to evaluate the efficacy of the treatment. Especially in cancer therapy trials, time to progression is served as tumor-assessment endpoint (when majority of deaths are unrelated to the disease) [10] or even primary endpoint. Any factors that may reduce the accuracy and precision of this kind of data – survival data – would lead to a biased trial result, and the interpretation of the result might become inaccurate or of no value. While conducting a multicenter trial, it is of vital importance to check the validity of data updated at intervals, to identify the sites of concern and correct actions of risk. Factors involved with survival outcome including missing data, illogical data and abnormal data, can be a potential targets for risk-based monitoring survival data. Presently, Clinical Data Interchange Standards Consortium (CDISC) [11] provides â€Å"standards to support the acquisition, exchange, submission and archive of clinical research data and metadata.† In advantage of CDISC normative data structure, especially Study Dara Tabulation Model (SDTM) and Analysis Data Model (ADaM), a data template can be established while the multicenter trial is ongoing. All data generated in the trial can be updated and restructured on the basis of the data template. This kind of formatted data structure provides great convenience for routinely data monitoring and validation. Meanwhile, once an algorithm for risk-based monitoring is generated, statistical model is build and the corresponding SAS program is coded, they can be applied to several trials and datasets which sharing the same monitoring target. 3.Objectives To establish an algorithm and a risk model for monitoring survival data, which is required to be capable of identifying trial centers with risk factors by revealing abnormal data; To generalize the algorithm and the risk model for application on clinical trials; To generate a reusable SAS program for application of the risk model. 4.Study Design Choose adequate metrics according to conventional monitoring targets, establish the algorithm and risk model, set appropriate criteria for risk flag. Apply the risk model on a real clinical trial dataset, identify risk sites. Compare the sites identified by model and sites with high risk known in advance, calculate sensitivity and specificity of the risk model. Generalize the risk model according to validation result, generate reusable SAS program for the risk model. 5.Methodology 5.1 Restructure datasets according to CDISC By implementation of Study Data Tabulation Model (SDTM), raw data will be sorted in formatted tabulations with observations of individual subjects. Attributes (name, label, type, length, description, etc.) of every metadata will be reset to meet SDTM conventions. And variables will be classified into corresponding domains. By implementation of Analysis Data Model (ADaM), data will first be structured into the subject-level analysis dataset (ADSL) formats. Subject-level variables will be specified to be ready for analysis. Specific variables will be calculated and formatted into Basic Data Structure (BDS) for site-level data analysis. CDISC template for risk model establishment is listed in Appendix A. All the original data will be structured in standardized formats according to this template. And this CDISC template will be reusable for future application. 5.2 Algorithm The statistical methods for different metrics to report risk flag are summarized in Table 1. Metrics: Monitoring targets for the risk model is chosen according to conventional monitoring practice. They will be missing randomization date, missing screening date, illogical date, censoring, death and tumor response. These kinds of data is involved with data integrity and data accuracy, and may has potential effect on survival data. Abnormal events in each target of every site will be counted and corresponding proportion will be calculated. Test for difference between proportions: Proportion metrics of each site will be compared with other sites by calculating t statistics and corresponding p-value. Sites with p-value (two-tailed) Poisson loglinear regression: For rare events (proportion metrics in sites are generally very low), Poisson loglinear regression will be implied to obtain point estimate and confidence interval (CI) of risk ratio (RR) in each site. CI of RR does not contain 1 will be considered as risk factor, and site will be marked by risk flag. 5.3 Model validation and generalization Apply the monitoring model on a real clinical trial dataset of which the risks have already known. Risk sites are expected to be marked with risk flag, and the opposite for sites without risks. Accuracy of the model will be tested by calculating sensitivity and specificity. In order to generalize the risk model for application on clinical trial data, proper metrics and corresponding statistical methods will be chosen to acquire higher accuracy and balance sensitivity and specificity. For example, if missing data proportions in sites are generally high, test for comparison between proportions will be used to identify risk site; however, if missing data proportion in each site is generally low, then missing data count will be considered as the appropriate metric and Poisson loglinear regression will be allocated. 5.4 SAS Programming Statistical software applied to this project will be SAS, version 9.3. All the procedures will be processed by SAS program. Macros will be utilized to make the program reusable. Flow charts of SAS programming logic are listed in Appendix B. 5.5 Dataset Dataset is from a real clinical trial data. Risk information of dataset is already known. Dataset will be used for external validation of the model. 6.Expected outcomes Establish a risk model for central statistical monitoring of survival data in clinical trials. Generate a SAS program reusable and applicable in pharmaceutical industries and CROs. Write an article for graduation. References Baigent C, Harrell FE, Buyse M, Emberson JR, Altman DG. Ensuring trial validity by data quality assurance and diversification of monitoring methods. Clinical Trials 2008 February 01;5(1):49-55. Eisenstein EL, Collins R, Cracknell BS, Podesta O, Reid ED, Sandercock P, et al. Sensible approaches for reducing clinical trial costs. Clinical Trials 2008 February 01;5(1):75-84. Morrison BW, Cochran CJ, White JG, Harley J, Kleppinger CF, Liu A, et al. Monitoring the quality of conduct of clinical trials: a survey of current practices. Clinical Trials 2011 June 01;8(3):342-349. FDA. Guidance for Industry: Oversight of Clinical Investigations—A Risk-Based Approach to Monitoring. 2013 August. Venet D, Doffagne E, Burzykowski T, Beckers F, Tellier Y, Genevois-Marlin E, et al. A statistical approach to central monitoring of data quality in clinical trials. Clinical Trials 2012 December 01;9(6):705-713. Pogue JM, Devereaux P, Thorlund K, Yusuf S. Central statistical monitoring: Detecting fraud in clinical trials. Clinical Trials 2013 April 01;10(2):225-235. Buyse M, George SL, Evans S, Geller NL, Ranstam J, Scherrer B, et al. The role of biostatistics in the prevention, detection and treatment of fraud in clinical trials. Stat Med 1999 Dec 30;18(24):3435-3451. Bakobaki JM, Rauchenberger M, Joffe N, McCormack S, Stenning S, Meredith S. The potential for central monitoring techniques to replace on-site monitoring: findings from an international multi-centre clinical trial. Clinical Trials 2012 April 01;9(2):257-264. Kirkwood AA, Cox T, Hackshaw A. Application of methods for central statistical monitoring in clinical trials. Clinical Trials 2013 October 01;10(5):783-806. FDA. Guidance for Industry: Clinical Trial Endpoints for the Approval of Cancer Drugs and Biologics. 2007 May. Available at: http://www.cdisc.org/CDISC-Vision-and-Mission. Appendix A Appendix B 1

Rastafarian Symbolism In The Visual Arts Essay -- VIisual Arts Art

Rastafarian Symbolism In The Visual Arts Works Cited Missing [NOTE: BECAUSE OF CONCERN ABOUT RIGHTS, WE HAVE NOT BEEN ABLE TO POST THE IMAGES THIS ESSAY REFERS TO] "Art has the power of liberating man from certain drudgeries and their way of life. A man who was born in the ghetto can't afford to be a Sunday painter, his whole life is involved in getting across his ideas; Rastafarianism, politics, Black culture and all that. Even our meeting here now is an artistic involvement. Some people do art with love here, politics there and so forth; now, to me art is one cosmic consciousness. The way you love, live, and even the way you hate: even your negative expressions connote a certain art-form. So I really do not separate my art from my other sphere of life."-Ras"T"(Barrett,187) The words of Ras"T", captured by Leonard E. Barrett, Sr. in his book The Rastafarians, are an excellent representation of the Rastaman's struggle to survive as an artist in Jamaica. They also reveal the core concept of Rastafarianism itself; the idea that one is born with Rasta inside them, and a true Rasta lives every second of every day in spiritual contact with Jah, Rastafari. One cannot be a Sunday worshiper of Rastafarianism. For the Rastafarian artist, every stroke of every painting or each chip of wood from the sculpture is inspired by Jah. Despite the problems such as lack of materials, and difficulties in getting exposure for their work, many members of the Rastafarian movement have turned to artistic expression in order to convey the Rastaman's message, and also as a means of out-letting their spirituality. These expressions include visual art, music, and poetry. In some cases, the Rastas use their artistic ability to create crafts an... ...t understand the symbolism and the thoughts that are put into such incredible displays of talent. The Rastafarians have contributed so much to their country's culture that goes by unnoticed. In the words of Barrett:"Great social developments are not always made in the halls of parliament or in the citadels of learning. These institutions merely react to the dreams of the creative mass. Some of the most creative trends in nations' development are born in the dreams of the visionaries, the radicals, the seers, and the charismatic prophets."(Barrett, 266). Many of these prophets are artists, and their beliefs are so strong that they are able to rise out of the poverty they live in and project their messages anywhere they will go. The Rastaman will be heard, and through the symbolism discussed in the previous pages, he can be heard. If only people will listen, and look.

Fruitless Love :: Dialogue Essays

Fruitless Love   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  I waited for Bob to head out for his three o'clock before I packed up my things and left the office. I didn't have to. Bob isn't my boss, he's just the guy who sits in the next cubicle. And it's not like he would have said anything, or even thought anything. It was just one of those days when I felt like leaving without anybody noticing.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  I smoked a whole cigarette walking from the office to the shuttle stop two blocks away. I walk slowly now, even when I feel like I'm rushing. The shuttle was parked at the stop when I got there. The driver had run inside the McDonald's to use the bathroom. I sat down on one of those sideways seats near the front and I smiled at the young woman sitting across from me. We sat there awkwardly facing each other for several minutes while the bus driver did his thing in the McDonald's. I had a newspaper in my briefcase.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  It was a quarter to four when I got home and for a good five-some minutes I stood at the dining room table trying to decide what to do next. Laura would be home in an hour or so. That's why I took off early. To have an hour or so. But I wasn't sure what to do with it. I took a beer from the fridge and started a bath.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  I was still in a towel, shaving, when Laura came home. I heard her call my name down the hallway. She was winded. I heard packages. â€Å"I'm in here,† I said. My voice sounded funny, high. I drew the razor up toward my chin.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã¢â‚¬Å"Are we late?† she asked. â€Å"I had to stop at the supermarket first. I got us a cake to bring.†   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã¢â‚¬Å"Renee said not to bring anything.†   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  She walked into the bedroom, struggling to undo her top. â€Å"Are we late? I didn't even see what time it is.†   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã¢â‚¬Å"What kind of cake?† I asked.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã¢â‚¬Å"Did she call? I left a message on her machine. I said we might be late.†   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã¢â‚¬Å"We're fine,† I said.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  I rinsed my face and leaned in close to the mirror to see if I'd missed anything. I couldn't remember if I'd brushed my teeth. Laura walked up behind me. She reached around and pinched one of my nipples. â€Å"Hello, you,† she said.

Leadership styles in greek mythology Essay

In ancient Greece, certain leadership qualities were seen as more desirable, and by reviewing Greek mythology it is possible to understand what these ancient people valued in their leaders. The tales of Uranus, Cronus, and Zeus show which characteristics were prized by the Greek people, and which were despised. Uranus, son and husband of Gaea, was tyrannical, and fearful, casting his offspring into the underworld. He was obsessed with absolute power. It did not concern him that his children, the Hundred-handed giants and the Cyclopes, burned with rage at him from their Underworld prison. It did not concern him that his mother-wife Gaea suffered dearly knowing the fate of her children. He was a wicked ruler, and his Titan sons and daughters were fearful of him. Even when Gaea urged them to join her in a plot to overthrow Uranus, the Titans, terrified, could not reply. It was only when Cronus, the youngest Titan, finally agreed to help Gaea that Uranus was finally and violently defeated. Cronus dismembered his father and scattered the body parts. The Titans then freed their siblings and made Cronus king. Cronus, however, turned out to be as wicked a king as his father Uranus. Gaea warned Cronus that like his father, his child would overthrow him. Obsessed with avoiding Uranus’s fate, Cronus devoured each of the children born to him and Rhea, his wife. Eventually, Rhea deceived Cronus to keep him from eating the newborn children. Cunningly, Rhea his one child, Zeus, and fed her husband a rock in the place of the shining child. When Zeus grew up, joined with his brother Poseidon and the other children of Cronus in a war resulted in Zeus’s overthrow of Cronus. At last, overpowered, the Titans retreated into Tartarus, where they were bound, imprisoned, for eternity. With the Titans in the depths of the earth, the rule of Zeus began. Unlike his father and grandfather, Zeus ruled the world justly. He assigned each of the deities their respective functions. He created a system of laws, and punished those immortals that broke their sacred word. Zeus also allowed the immortals to benefit mankind. Out of chaotic destruction, Zeus’s rule began and he established such order that no Olympian god would question his authority. Even when the Titans would try to return and overthrow Zeus, they could not defeat him due to the loyalty he had earned from the other Olympians. A reading of these tales shows that the Greeks looked for the qualities of strength and authority in their leaders, along with courage and wisdom. However, these alone were not enough. In order to be a great leader or king, one needed to establish a system of justice and fairness, where those who did wrong would face punishment, and where order would be maintained instead of chaos. Zeus was the model for earthly kings because of his ability to bring order, fairness, and justice along with his great strength.

Big Picture Questions Essay

1) The experience of empire for conquered peoples was broadly similar whoever their rulers were, Does the material in this chapter support or challenge this idea? It supports and challenges the idea to a certain extent. 2) In thinking about the similarities and differences among the empires of the early modern era, what categories of comparison might be most useful to consider? 3) Have a look at the maps in this chapter with an eye to the areas of the world that were not incorporated in a major empire. Pick one or more of them and do a little research as to what was happening there in the modern era. I chose the region of Borneo which is besides the Philippines. I believe the territory must have been led by an empire who did not want to be over thrown by the bigger empires such as Portuguese, French and English, so they would rather not be involved with their trade and other activities. 4) Looking back: compared to the world of the fifteenth century, what new patterns of development are visible in the empire-building centuries that followed? 1) To what extent did Europeans transform earlier patterns of commerce, and in what ways did they assimilate into those older patterns? Europeans for the first operated on a global scale, forging new trade networks across the Atlantic and Pacific oceans They also facilitated the full integration of fur-supplying regions into wider trade networks. But in other ways the Europeans assimilated older patterns, as in the Indian Ocean, where they sought to dominate previously established trade routes, and they continued to trade many of the same products 2) How should we distribute the moral responsibility for the Atlantic Slave trade? Is this an appropriate task for historians? Yes, this is an appropriate task for historians, but perhaps the responsibility should be disbursed by what region a historian is most familiar. 3) What lasting legacies of early modern globalization are evident in the twenty-first century? Pay particular attention to the legacies of the slave trade. 4) Looking back: Asians, Africans, and Native Americans experienced early modern European expansion in quite different ways. Based on Chapters 13 and 14, how might you describe and explain those difference? In what respects were they active agents in the historical process rather than simply victims of European actions? Asians, Africans, and Native Americas were all victims of European actions, but in all in different forms. Africans were used as slaves and to their own convenience. Whereas, Natives were victims in the form that they were pushed out of their territories. Asians were threatened by the dominance of Europeans for two centuries. The English wanted to improvise on Christianity, but the Asians fought back. Although, these cultures were highly discriminated their customs helped form America today. For example the Asians taught English men’s daughters to make profit of their earnings. In addition, Native Americans taught the English about how to harvest and crops. Finally the African Americans brought their customs of foods and certain labors.