...I have done many things to give back to my community. First, I volunteered to help coach young kids during an AYF football mini camp. This was a very fun experience because I got to share my knowledge of football that I have developed over my 10 years of playing football. The camp was three days long and ran for a couple hours each day. It felt good to give back to the community and the kids that will play for the teams that I played for. I am also a part of my school’s National Honor Society, and we take part in many service projects throughout the year. My personal service project was teaching a group of freshmen how to work out. This was a very meaningful and fun experience because I got to teach kids how to do something that I love. This was a very good experience for the kids to because I gave them the fundamental knowledge of how to workout, and now they can use the knowledge to train for their sports....
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...through Theatre This paper sets out to explore how processes of theatre making employed by The Mothertongue project, provide spaces for women to remap their personal narratives. Mothertongue works from the premise that the development and subsequent performance of stories in theatrical processes affords women the opportunity to re-write and remap their personal narratives and in so doing insert their voices into the landscape of South African Theatre. In an attempt to redress the gender imbalances and androcentricism prevalent in post-apartheid theatre, this paper speaks to the relationship between theatre, liminality and communitas. I am interested in unpacking how collaborative processes of theatre-making provide spaces for women to remap their personal narratives. Remapping in this instance refers to processes of transforming lived experience through story. I address how, through engaging in ritual activities that are central to the stories performed, actors, audiences and the owners of the source stories are invited to physically participate in remapping and transforming lived experience. Linked to this is the choice of form(s) and how this affects or impacts on the performed stories as well as on the construction of performed rituals and ultimately on the processes of remapping personal narratives. I focus specifically on Mothertongue’s 2004 production, Uhambo: pieces of a dream. The production was an integration of theatre and visual art in the form of performances...
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...Graded Assignments 4 Unit 1 Journal 1: Personal Narrative 4 Unit 1 Journal 1: Personal Narrative Handout 6 Unit 1 Journal 2: Civic Narrative 9 Unit 1 Journal 2: Civic Narrative Handout 11 Unit 1 Assignment 1: What Would You Do? 12 Unit 2 Journal 1: Personal Narrative 13 Unit 2 Journal 1: Personal Narrative Handout 15 Unit 2 Journal 2: Civic Narrative 19 Unit 2 Journal 2: Civic Narrative Handout 20 Unit 2 Journal 3: Article Response 22 Unit 2 Assignment 1: What Would You Do? 23 Unit 2 Assignment 2: Declaration of Independence and Public Safety 25 Unit 3 Journal 1: Car Commercials 26 Unit 3 Journal 2: Personal Narrative 27 Unit 3 Journal 2: Personal Narrative Handout 28 Unit 3 Journal 3: Civic Narrative 31 Unit 3 Journal 3: Civic Narrative Handout 32 Unit 3 Journal 4: Taste vs. Judgment 34 Unit 3 Presentation 1: What Would You Do? 35 Unit 3 Assignment 1: Habits That Hinder Thinking 36 Unit 4 Journal 1: Invention Exercise 37 Unit 4 Journal 1: SWOT Analysis Template 38 Unit 4 Journal 2: Personal Narrative 39 Unit 4 Journal 2: Personal Narrative Handout 41 Unit 4 Journal 3: Civic Narrative 43 Unit 4 Journal 3: Civic Narrative Handout 44 Unit 4 Assignment 1: What Would You Do? 46 Unit 4 Assignment 2: Invention White Paper 47 Unit 5 Journal 1: Personal Narrative 48 Unit 5 Journal 1: Personal Narrative Handout 49 Unit 5 Journal 2: Civic Narrative 51 Unit 5 Journal 2: Civic Narrative Handout 53 Unit 5 Assignment 1: What Would...
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...Family narrative Wes Moore, had a strong family presents that supported him in being successful in work and in personal life. “The single most important thing you can do for your family may be the simplest of all: develop a strong family narrative”(Feiler 2) The family narrative influences the child’s ability to be successful, the three narratives are ascending, descending, and oscillating. Ascending is the example of "Son, when we came to this country, we had nothing. Our family worked. We opened a store. Your grandfather went to high school. Your father went to college. And now you. ..." ( Feiler 3) Ascending is negative and the child is giving a common expectation of success. “ Second is the descending narrative: "Sweetheart, we used to...
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...invention Commercial Break!!: Creative Play With Media Influence Purpose: Works well to introduce a personal visual media paper, or other media analysis paper, because it encourages students to think critically about their childhood experiences with TV, etc in a personal, creative way. The exercise may become an early paper draft, or simply stimulate their thinking about the programs and commercials they have watched, and how these media affected them. Description: Students will write creative narratives about a childhood TV experience, then trade papers with another classmate, who will assess the program, the narrator, and then complete the narrative with a commercial break description suited to the program and audience. You may want to have your own example written up to read to them before each step, just to get them thinking about what’s possible. Suggested Time: 20 minutes to a full class period Procedure: Ask the class what their favorite shows were as kids: cartoons, sitcoms, even documentaries. You may want to bring in a few stills or uTube clips to project (in a tech class), as a memory jogger (ex. The Cosby Show, Ren & Stimpy, etc). Once you’ve discussed a nice variety of TV programs, ask the class to freewrite for 5-10 minutes (however long you wish to tell them) in first-person P.O.V. about their experience watching a show like these as a kid. They should be specific and detailed, writing whatever comes to memory about what’s going on in the program and their thoughts/reactions/and...
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...Work/life balance is at best an elusive ideal and at worst a complete myth, today's senior executives will tell you. But by making deliberate choices about which opportunities they'll pursue and which they'll decline, rather than simply reacting to emergencies, leaders can and do engage meaningfully with work, family, and community. They've discovered through hard experience that prospering in the senior ranks is a matter of carefully combining work and home so as not to lose themselves, their loved ones, or their foothold on success. Those who do this most effectively involve their families in work decisions and activities. They also vigilantly manage their own human capital, endeavoring to give both work and home their due over a period of years, not weeks or days. That's how the 21st century business leaders in our research said they reconcile their professional and personal lives. In this article we draw on five years’ worth of interviews with almost 4,000 executives worldwide, conducted by students at Harvard Business School, and a survey of 82 executives in an HBS leadership course. Deliberate choices don't guarantee complete control. Life sometimes takes over, whether it's a parent's dementia or a teenager's car accident. But many of the executives we've studied men and women alike have sustained their momentum during such challenges while staying connected to their families. Their stories and advice reflect five main themes: defining...
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...STUDIES IN PROFESSIONAL LIFE AND WORK Mike Hayler University of Brighton, UK Autoethnography, Self-Narrative and Teacher Education examines the professional life and work of teacher educators. In adopting an autoethnographic and life-history approach, Mike Hayler develops a theoretically informed discussion of how the professional identity of teacher educators is both formed and represented by narratives of experience. The book draws upon analytic autoethnography and life-history methods to explore the ways in which teacher educators construct and develop their conceptions and practice by engaging with memory through narrative, in order to negotiate some of the ambivalences and uncertainties of their work. The author’s own story of learning, embedded within the text, was shared with other teacher-educators, who following interviews wrote self-narratives around themes which emerged from discussion. The focus for analysis develops from how professional identity and pedagogy are influenced by changing perceptions and self-narratives of life and work experiences, and how this may influence professional culture, content and practice in this area. Autoethnography, Self-Narrative and Teacher Education Autoethnography, Self-Narrative and Teacher Education STUDIES IN PROFESSIONAL LIFE AND WORK The book includes an evaluation of how using this approach has allowed the author to investigate both the subject and method of the research with implications for ...
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...exaggeration in society's mind. Slave were treated like animals throughout the times of being attacked, beat on, and personal issues.Some of them were lack of education, and many broken families around slave communities. Night john gave more of a watered down more theater friendly version of these terrible years in the United States History.All of the hardships presented have been proven historically accurate due to supporting documents and how they corroborate to each other. Although Gary Paulsen's novel Nightjohn, is considered historical fiction, the description broken family structures, harsh restrictions, and cruel and unusual punishment can be corroborated with multiple sources provided by actual slaves at the...
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...Through narrative therapy a counselor can help clients gain access to preferred story lines about their lives and identities taking the place of previous negative and self-defeating narratives that destroy the self. Presented in this paper, is an overview of the Narrative therapy and the Social Construction Model and several facets of this approach including poststrucuralism, deconstructionism, self-narratives, cultural narratives, therapeutic conversations, ceremonies, letters and leagues. A personal integration of faith in this family counseling approach is presented and discussed also in this paper. NARUMI AMADOR’S FAMILY CONSELING APPROACH Introduction Narrative therapy is found under the Social Construction Model. Using the Narrative approach, the therapist will not be the central figure in the therapeutic process, instead he will be influential to the client, helping him/her internalize and create new stories within themselves to draw new and healthier assumptions about who they are. This process enables clients to distract from focusing on the negative narratives which defined their past, redefining their lives into future positive stories. Narrative therapists define the problem as the problem instead of defining the client as the problem. The therapy process begins redefining the problem, externalizing it and getting it out in the open. The narrative therapist uses the questioning technique and creates alternative narratives to connect...
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...with his sight restored as he follows Jesus on the way up to Jerusalem. In a unique way, this story concretizes the power of the faith of persons who are oppressed by physical or mental handicaps, patriarchal social structures, racial discrimination, and economic systems over which they have no control. It is an invitation to allow our own personal and communal humiliation to be seen in the context of Bartimaeus's faith in Jesus as the Christ. The Story And they came to Jericho. And as he was leaving Jericho with his disciples and a great multitude, Bartimaeus, a blind beggar, the son of Timaeus, was sitting by the roadside. And when he heard that it was Jesus of Nazareth, he began to cry out and say, "Jesus, Son of David, have mercy on me!" And many rebuked him, telling him to shut up. But he cried out all the more, "Son of David, have mercy on me!" And Jesus stopped and said, "Call him." And they called the blind man, saying to him, "Take heart; rise, he is calling you." And throwing off his mantle he sprang up and came to Jesus. And Jesus said to him, "What do you want me to do for you?" And the blind man said to him, "Master, let me receive my sight." And Jesus said to him, "Go your way; your faith has made you well." And immediately he received his sight and followed him on the way. Learning the Story Verbal Threads "Jericho." The first episode is tied together by Jericho: "He came to Jericho"/"as he was leaving Jericho" (vs. 46). "Cried out…'Son of David, have mercy on me.'...
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...Essay #1 – “I Search” Exploratory Essay 1500-2500 words (15% of your Final Grade) This paper is designed to teach the writer and the reader something valuable about a chosen topic and about the nature of searching and discovery. As opposed to the standard research paper where a writer usually assumes a detached and objective stance, the “I Search” paper allows you to relate your personal experience engaged with some aspect of a topic, to hunt for facts and opinions firsthand, and to provide a step-by-step record of the search process. It’s part research paper, part personal narrative, part reflection. • First step: choose a controversial topic broadly pertaining to digital technology, digital media, “the internet,” television, or modern computing technology that truly interests you—specifically some problem or concern you want to be more informed about (use Homework #1 as a launching point). The topic, however, has to be argumentatively rich, meaning that there have to be many different viewpoints on the issue. • Second step: rather than starting with a thesis or claim, you’re going to begin with a question or problem spurred by some personal experience or exploration. Think of yourself like an investigative journalist or social scientist: if you’re writing about online communities, immerse yourself in one; if you’re writing about internet/television/cell phone addiction, deprive yourself for a few days; if you’re investigating some activity, try engaging in that...
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...Peer tutoring works best when students of different ability levels work together (Kunsch, Jitendra, & Sood, 2007). During a peer tutoring assignment it is common for the teacher to have students switch roles partway through so that the tutor becomes the one being tutored. Since explaining a concept to another helps extend one’s own learning, this practice gives students the opportunity to understand better the material being studied. What does the research say about peer tutoring? In reviews of peer tutoring programs, researchers found: * When students participated in the role of reading tutor, improvements in reading achievement occurred * When tutors were explicitly trained in the tutoring process, they were far more effective and the students they were tutoring experienced significant gains in achievement * Most of the students benefited from peer tutoring in some way, but same-age tutors were as effective as cross-age tutors (Burnish, Fuchs & Fuchs, 2005; Topping, 2008) Some benefits of peer tutoring for students include higher academic achievement, improved relationships with peers, improved personal and social development as well as increased motivation. In turn, the teacher benefits from this model of instruction by an increased opportunity to individualize instruction, increased facilitation of inclusion/mainstreaming, and opportunities to reduce inappropriate behaviors (Topping, 2008). There is an old saying: “To teach is to learn twice.” Peer tutoring...
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...[Indiana University Libraries] Date: 24 February 2016, At: 16:43 Journal of Postcolonial Writing Vol. 46, No. 1, February 2010, 65–75 “He does not understand our customs”: Narrating orality and empire in Chinua Achebe’s Things Fall Apart Jarica Linn Watts* University of Utah, Salt Lake City, USA Downloaded by [Indiana University Libraries] at 16:43 24 February 2016 jarica.watts@utah.edu Jarica 0 100000February 46 2010 &Article OriginalofFrancis 1744-9855 (print)/1744-9863 JournalandPostcolonial 10.1080/17449850903478189(online) RJPW_A_448194.sgm TaylorLinnWatts 2010 Writing Francis This article delineates different strains of Achebe’s narrative technique in Things Fall Apart, arguing that earlier critics have failed to account fully for two fundamental principles in Achebe’s narrative: the myriad phrases that are repeated throughout the first part of the work; and the formative shift, the poetic volta, that takes place between parts one and two of the novel. Drawing on Achebe’s assertion that “anyone seeking an...
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...create Nettie’s voice and perspective in several ways. The extract is a dual narrative, where Celie is reading Nettie’s letters. This is Nettie’s third letter written chronologically, although it is the fourth ready by Celie; this reminds us of Celie’s presence as she is choosing the order to read the letters in. This letter was written just after Nettie left Celie, within the first fifteen letters of the novel. At this point in Celie’s life, “Shug Avery is coming to town!” and it is the first time Celie properly portrays her excitement within her letters; although contrastingly Nettie is at her lowest, this delineates the differences between the two sisters lives. It is written early in Celie’s narrative but it is not told by Celie until later, by this point Celie has developed, she has begun to find her voice and she has built up a network of women; hence she is able to provide Nettie with the strength she requires, whereas earlier in the novel she would have required the strength from Nettie. In this letter, Nettie explains that Samuel will not let her visit Celie, since he believes it is wrong to “come between a man and his wife”. We know that Nettie has grown anxious at this point because she formally states with the use of a modifier, “By now I am almost crazy”, it is evident that writing to Celie is holding Nettie together. Nettie’s letter is reported through Celie’s first person narrative within a single letter. The voice of Nettie is reported as direct speech, though...
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...alternative filmsMainstream films can best be defined as commercial films that are made by major entertainment studios or companies that are owned by international media conglomerates. Because of better financing, these films can afford more expensive actors, wide releases, and are sold at popular retail stores. This has become known as the studio system. Films made by major studios or companies that are not owned by a media conglomerate but are distributed by a company owned by a media conglomerate (see Lucasfilm) are also considered to be mainstream and are often referred to as mainstream independent films. Companies that are completely independent, such as Lionsgate, also produce mainstream films, from a cultural standpoint, but independent of the studio system. The alternative to mainstream films are sub genre films that appeal to a certain audience, such as African American films. Low budget films, art films, and experimental films are often the starting point for entertainers who wish to enter into the mainstream circuit or a sub genre circuit. Mainstream films are targeted for all cultures and audiences, with the dominating culture and audience being the primary marketing focus, while sub genre films are marketed towards only one specific culture and audience. Mainstream films often recruit talent from all film genres and backgrounds. Alternative media are media (newspapers, radio, television, magazines, movies, Internet, etc.) which provide alternative information to the...
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