Wednesday, January 29, 2020

Expository research paper Essay Example for Free

Expository research paper Essay Minority students have been discriminated against for a very long time; many people think that minorities don’t have the same opportunities as others, but in reality they have many advantages. Minority students have opportunities to get into good colleges and getting more scholarships than other non-minority students. Colleges look for the obvious things like grades, and extracurricular activities and all those things but what most really want is to have diversity in the college and therefore colleges need minority students. Colleges read students’ applications thoroughly, so colleges’ look for stuff that sticks out, stuff that makes a student different than the rest one thing that might sticks out is race. In the article is says, â€Å"An applicants final determination of what to say about race is often made consultation with a college counselor. Many counselors may convey to families that a multiracial applicant has a better chance of being admitted to a highly selective college than those in any other racial or ethnic category. †(Saulny). This tells how a multiracial student may have a better chance of getting into a good college than those in other racial or ethnic categories. â€Å"Many private scholarships are geared toward minorities because they are looking for something in particular†(Borowski). The author talks about how private colleges seek at minorities, which tells that they consider race are when choosing students. Molina 2 Scholarships are used to help students get into college, but some scholarships are targeted to specific students, most likely minority students. This also could equal disadvantages to non-minority students. In this article the author says, â€Å"Some private scholarships are based on a students characteristics such as race, ethnicity, and religion, and some are based on professional affiliations or future career choices†(Borowski). Private scholarships look for very specific things in students which show how much of a disadvantage some students have in. The article talks about one student’s problem, â€Å"As Johnson found, private scholarships can extremely selective. â€Å"When I research all the grants and scholarships out there, they are all really specific, targeted towards everyone but me, he says, Are you a Pacific islander who plays tuba? There is a scholarship for you. Or a woman from an inner city who works with animals? There’s a grant for you. But a hard working boy from the suburbs? Nothing. †(Borowski). The author shows how very specific scholarships can be and how they affect other people who do not fit the description of what that scholarship wants. Another reason why minorities have an advantage is because of stereotypes even if it doesn’t apply to that student. In an article a student says, â€Å"I just realized that my race is something I have to think about,† she describes herself as having an Asian mother and a black father. â€Å"It pains me to say this, but putting down black might help admission. †(Saulny). This states how putting down a specific race might better or worsen someone’s chances depending on that particular race. A mother states, â€Å"My 17 year old son is a high B student and an excellent athlete, but we’ve been unable to find any scholarships for him because he’s white. † Elizabeth says, Johnson also says â€Å"We aren’t wealthy. We don’t take on fancy vacations and we do without a lot of things. Yet because I’m white, I don’t get a hand. There are all kinds or nationalities at Molina 3 my high school, whose families have a lot more money than we have, and yet they are getting scholarships. †(Saulny). This tells how stereotypes can give minority students an advantage by colleges stereotyping and giving help to those who don’t really need it instead of to the ones that do. Minority students also think that it is a disadvantage being a minority but in reality it can be an advantage against non-minority students. Minority students are what colleges look for. There are scholarships targeted towards minorities, and due to stereotypes there are advantages. These affect more than just minority students, it basically affects everyone because being a non-minority is at a disadvantage of getting a scholarship or getting into a good college. In today’s society someone’s race could affect their future. Saulny, Susan, and Jacques Steinberg. On College Forms, a Question of Race, or Races, Can Perplex. New York Times 13 June 2011: n. pag. The New York Times. Web. 13 Apr. 2014. http://www. nytimes. com/2011/06/14/us/ 14admissions. html? pagewanted=all_r=2. Borowski, Susan. Scholarships and the White Male: Disadvantaged or Not? Insight into Diversity. N. p. , n. d. Web. 13 Apr. 2014. http://www. insightintodiversity. com/ scholarships-and-the-white-male-disadvantaged-or-not-by-susan-borowski.

Monday, January 20, 2020

Essay on the Artist as Hero in A Portrait of the Artist As a Young Man

The Artist as Hero in A Portrait of the Artist As a Young Man  Ã‚        Ã‚   A Portrait of the Artist As a Young Man by James Joyce is a partly autobiographical account of the author's life growing up.   The novel chronicles the process through which the main character, Stephen, struggles against authority and religious doctrine to develop his own philosophies on life.   Stephen is not necessarily rebelling against God and his father as much as he is finding his own person, creating his own life.   He is an artist, not because of the outcome of his life, but because of the process he goes through to achieve that outcome.   The artist is a hero because of the sacrifices he makes, the persecution he endures, and the risks he undertakes merely to set foot towards his vision.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Joyce demonstrates that whether or not Stephen achieved his vision is insignificant to the actual journey itself.   First of all, the novel concludes not with the outcome of Stephen's life but with the beginning stages of his journey.   "Old father, old artificer, stand me now and ever in good stead," he writes in the last sentence of the novel.   Joyce purposefully ends the book before Stephen's sets off, to emphasize that the process he undergoes to reach that point where he can reject the very foundation upon what his life was based is where the importance lies.   The infamous hell scene spans over twenty pages not to frighten the reader as much as to show how difficult it is to even become an artist and fight conformity.   All process towards breaking away is lost after the preacher's sermon on hell, as shown in the following passage: He beat his breast with his fist humbly, secretly under cover of the wooden armrest.   He would be at one with others... ...d for his art, seeing that his religion is no good for his heart, he forges a new life and religion for his own, fulfilling his destiny as an artist.    Works Cited Beebe, Maurice.   "The Artist as Hero." James Joyce, A Portrait of the Artist as a   Young Man:   Text, Criticism, and Notes.   Ed.   Chester G. Anderson.   New   York:   Penguin, 1968.   340-57. Ellmann, Richard.   "The Limits of Joyce's Naturalism." Sewanee Review 63   (1955):  Ã‚   567-75. Givens, Seon, ed.   James Joyce:   Two Decades of Criticism. New York:   1948. 2nd ed.   1963. Joyce, James.   A Portrait of the Artist as a Young Man.   The Portable James Joyce.   Ed.  Ã‚   Harry   Levin.   New   York:   Penguin, 1976. Power, Arthur.   Conversations with James Joyce.   Ed. Clive Hart.   London:  Ã‚   Millington, 1974. Wright, David G.   Characters of Joyce.   Dublin:   Gill and Macmillan, 1983.       Essay on the Artist as Hero in A Portrait of the Artist As a Young Man The Artist as Hero in A Portrait of the Artist As a Young Man  Ã‚        Ã‚   A Portrait of the Artist As a Young Man by James Joyce is a partly autobiographical account of the author's life growing up.   The novel chronicles the process through which the main character, Stephen, struggles against authority and religious doctrine to develop his own philosophies on life.   Stephen is not necessarily rebelling against God and his father as much as he is finding his own person, creating his own life.   He is an artist, not because of the outcome of his life, but because of the process he goes through to achieve that outcome.   The artist is a hero because of the sacrifices he makes, the persecution he endures, and the risks he undertakes merely to set foot towards his vision.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Joyce demonstrates that whether or not Stephen achieved his vision is insignificant to the actual journey itself.   First of all, the novel concludes not with the outcome of Stephen's life but with the beginning stages of his journey.   "Old father, old artificer, stand me now and ever in good stead," he writes in the last sentence of the novel.   Joyce purposefully ends the book before Stephen's sets off, to emphasize that the process he undergoes to reach that point where he can reject the very foundation upon what his life was based is where the importance lies.   The infamous hell scene spans over twenty pages not to frighten the reader as much as to show how difficult it is to even become an artist and fight conformity.   All process towards breaking away is lost after the preacher's sermon on hell, as shown in the following passage: He beat his breast with his fist humbly, secretly under cover of the wooden armrest.   He would be at one with others... ...d for his art, seeing that his religion is no good for his heart, he forges a new life and religion for his own, fulfilling his destiny as an artist.    Works Cited Beebe, Maurice.   "The Artist as Hero." James Joyce, A Portrait of the Artist as a   Young Man:   Text, Criticism, and Notes.   Ed.   Chester G. Anderson.   New   York:   Penguin, 1968.   340-57. Ellmann, Richard.   "The Limits of Joyce's Naturalism." Sewanee Review 63   (1955):  Ã‚   567-75. Givens, Seon, ed.   James Joyce:   Two Decades of Criticism. New York:   1948. 2nd ed.   1963. Joyce, James.   A Portrait of the Artist as a Young Man.   The Portable James Joyce.   Ed.  Ã‚   Harry   Levin.   New   York:   Penguin, 1976. Power, Arthur.   Conversations with James Joyce.   Ed. Clive Hart.   London:  Ã‚   Millington, 1974. Wright, David G.   Characters of Joyce.   Dublin:   Gill and Macmillan, 1983.      

Sunday, January 12, 2020

Descent from the Cross

In Rubens’ Descent from the Cross the element that makes the oil on canvas baroque in nature is that of the attention to detail. Rubens’ was contrary in his painting, which was a personal part of his artistry and not defined by the Baroque art period. His bodies in his paintings, though in action or even in repose were depicted although with muscles tone, the muscles seemed flaccid, as is the case in the above mentioned painting. The wounds of Christ are Baroque in their depiction because it is the opposite of what previous artistic movements has focused upon.There is the revelation of power in the gathering disciples and in the color palate being manipulated in the painting the subtle tones and the attention to chiaroscuro is what gives the painting a very Rubenesque feel. The viewer’s attention again is draw towards the bodies; albeit muscular, they are not showing signs of body fat, they are perfected in their grief, and in the area of opposites, this is what Rubens wanted to capture; the perfect body juxtaposed with very human emotions; the god body paired with humanity.In exact contrast to Rubens depiction of Christ’s flaccid yet toned body, Velazquez gives the viewer a Christ who hangs somber on the cross. His body is in classic Greek contrapposto; his body is aligned in an S-curve. The starkness of the painting; the black background, and the striking whiteness of Christ’s body adds to the power of the moment; the messiah on the cross. Rubens’ painting was chaotic with colors, but Velazquez shows restraint in this painting by allowing the moment, and the feeling transcend the painting, by toning down the colors. As opposed to Rubens’ Christ, Velazquez introduces the viewer to the bodies position on canvas.Rubens engaged other participants with Christs’ movement off the cross. Rubens has a similar piece which is depicting Christ being hoisted upon the cross. Velazquez on the other hand shows Christ so litary in the painting; he endures by himself, which is in itself a great contrast to the jumble of bodies prevalent in Rubens piece. Rubens also denoted a lot of muscle mass to Christ while Velazquez depicts his Christ more like a younger, realistic man; Velazquez makes his Christ human with human qualities and while Rubens portrays Christ bleeding the same human sentiment is not shown.Velazquez shows Christ himself grieving on the cross instead of Rubens’ painting where everyone but Christ is grieving and this is what makes Velazquez’s Christ human. Titian portrays Magdalene in somber tones, that are prevalent throughout the High Renaissance. The tones and colors used create a mood of reserved trepidation and the facial expression used is that of inquiry. This inquisitiveness is subtle in Titian’s art, but in certain facial expressions and through the use of color, the look of the characters becomes sometimes inquisitive, royal, or even pensive. The dark yet v ibrant colors employed by Titian exhibit a dreamlike state.The bodies contrapositions to one another serve to pair them, or in other Titian art, the sole character has body movements that puzzle together. What is typical in a Titian painting and Christ Appearing to the Magdalene is not exception, is the muted colors. The Rubens’ painting The Raising of the Cross is similar in fashion to Titian’s portrayal. Both use excellent color combinations to enhance the shadows in the paintings. The highlights on Christ’s body in Rubens’ painting is simply astonishing. The rest of the figures are clad in shadow, especially their faces.The curious counterpoint to this technique is that Titian uses shadow just as eloquently but with different results. Rubens’ shadows implore the viewer to judge the paintings, the scan the highlighted figure and question why the other figures are caste in shadow. Titian’s painting also begs the question of the shadows but his point is more clearly made; shadow is consistent with grief. If the viewer takes another glance of Rubens’ painting they will see that the shadowy figures’ faces are looking away from Christ in shame while one stares straight at him with wide-struck eyes as if not only in disbelief but in fear.Rubens was unique in incorporating foreground activity in his paintings. In The Raising of the Cross, there a dog in the foreground interested in the human activity (also, dogs are synonymous with loyalty; albeit, Rubens wanted to incorporate that idea with Christ). Rubens liked to have the human body in action in a specific setting, as has been the case for the previously analyzed Rubens painting. Rubens’ painting had an Italian influence with the male body. Just as Michelangelo depicted the male body in supreme example of humanity based after the Greek forms, so did Rubens want Christ to resemble those same perfected bodies.Titian’s painting does not do this, but instead, like Velazquez focuses on Christ’s humanity. Rubens had elements of other artists involved with his paintings such as the Caravaggio technique with light, making Christ the holder and light attraction in the paintings, highlighting his person and shadowing the rest. Also, the painting is a hubbub of activity which is reminiscent of Tintoretto’s busy canvases. The body’s of Rubens’ artwork seem to be bursting from the canvas, not only because of their muscle mass but the activity they are accomplishing and the fact that Rubens did not allow the edge of the canvas to dictate the end of action.One man’s body is cut off, lost to the edge of the canvas just as on the other side another man is constructed in similar fashion. This is not seen with Titian, even though he takes the body in asymmetric alignment with other points on the canvas. Rubens focuses his bodies in a diagonal axis in order to distribute action throughout the canvas. This is another point where Titian is different; his action does not give way for diagonals. Works Cited Sporre, Dennis. (2008). The Creative Impulse: An Introduction to the Arts. 8th edition. Prentice Hall.

Saturday, January 4, 2020

Assessment and Learners Essay - 1015 Words

4 Understand how to involve learners and others in assessment 4.1 Explain the importance of involving the learner and others in the assessment process Assessment is all about making judgements. A major argument for involving students in self and peer-assessment is that it helps them to develop the ability to make judgements, in particular about themselves and their work. This is an important life skill as well as an academic one. If an assessor wants to observe a specific piece of evidence but is unable to because maybe it hasn’t occurred in any methods of assessment; this is where it’s important for others to get involved for example the managers or the colleagues. The workers can motivate the learner when the assessor is not around.†¦show more content†¦Self-assessment is a natural progression and grows out of peer assessment. It allows the students to examine their own work and discover strengths and weaknesses for themselves. This can be carried out through reflective practice through a diary of learning or learning log that allows the student to see progression and reflect upon the journey. Its important to incorporate some aspect of self-assessment every day, if possible, in order for students to take responsibility and interest in their abilities. Another way of using self-assessment is by asking the students to give themselves a grade on the work that they have completed before handing in the work to the marking criteria set, or for student looks at their assignment and marks green for questions that they feels confident about, yellow for questions that they are unsure of and red for questions that will require help. 4.4 Explain how assessment arrangements can be adapted to meet the needs of individual learners Assessment arrangements can be adapted by allowing the learners to have an element of choice on how the criterion is assessed. 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