Original Writing Of The Classroom - 1156 Words

Sitting quietly in the corner of the classroom one day, and bouncing off the walls in the gym the next, four year old Garrett was the little boy who I observed all three times at the Early Education Center. Garrett was always an extremely welcomed person while also being very welcoming to other people. Including his teacher, college workers, and his peers in and out of the classroom. He seemed to be the kid who everyone else naturally gravitated to. He never once had to ask to play with a group of kids when I was observing him. Instead, Garrett was being asked by other kids if he could come over and play with them. I spent a total of an hour and a half observing. Once it was over lunch, and the others were in the afternoon during circle†¦show more content†¦He ran around the outside circle of the gym with a few of his classmates while shouting and exclaiming with joy. In the classroom, Garrett showed his motor skills in numerous ways. Using finger grip and hand strength, whi ch are both fine motor skills, he spooned food onto his plate for lunch and carefully poured his milk into his bowl during snack. On the flip side, Garrett showed his gross motor skills just as well as he dribbled a ball, ran around in the gym, and climbed on the playground equipment. The cognitive domain deals with a child’s intellectual abilities, which Garrett had many examples of as well. Garrett was able to use information processing to think through the process of washing his hand and taking his outside clothing off and hanging it in his cubbie without needing any assistance. He was given instruction on a certain task and was able to complete it without needing to go back and ask questions, which signifies his memory capability. The term â€Å"self talk† was something that Garrett showed during my observations as well. Self talk refers to when a person is struggling with a certain subject matter or idea and they need to talk themselves through it in order to gain a better understanding. And it’s not just young children who use this as a learning technique. Teenagers and adults use this same mechanism just maybe slightly modified to fit their age level. He talked himself

Luxury Consumption Motives of Chinese Female Consumers Research Proposal

Essays on Luxury Consumption Motives of Chinese Female Consumers Research Proposal The paper â€Å"Luxury Consumption Motives of Chinese Female Consumers† is an exciting example of a research proposal on marketing. Traditionally it has been found that Chinese men are the consumers of luxury goods, chiefly because of the tradition in the country to gift in the corporate and government sectors (Joy 2001). However, due to the growing financial and social independence of the Chinese women, they are also forming a major share in the luxury brands market in China (Fish 2010). Various studies have been conducted to project the increase in the number of Chinese women consumers for luxury products, however, not many studies have been done to understand the luxury consumption motives of the women consumers in China. There are various motivating factors that may impact the luxury consumption among women consumers in China (Doctoroff 2005). These factors may include individual taste, social and personal motivations, quality motivations, etc. Thus, through the proposed p aper, the researcher would attempt to understand the motivations of the Chinese women consumers behind buying luxury goods.The main purpose of the paper is to understand the underlying motivations of Chinese women consumers for purchasing luxury goods. The paper would seek to identify the trends among the Chinese women consumers regarding buying of luxury goods. It would also focus on certain luxury brands and how these brands are being perceived by women consumers in China.The researcher expects that the paper would provide a considerable outlook on the women luxury goods consumers in China, especially focusing on the motivations behind buying such goods. The results would help various luxury brands planning to set shop or already have established their retail stores in the country to understand the mindset of the women consumers and cater to them as per their preferences. Further, these companies can also mold their advertising and marketing campaigns as per the requirements of th e women consumers. For instance, if the report finds that the women consumers are more inclined to buy luxury products due to social motivations, the brands may decide to promote their products as social aspiration products and attract more consumers.The women Chinese consumers buying luxury products are growing steadily in the country and therefore, it is essential to understand their mindset related to their buying preferences for luxury goods. Thus, the proposed paper would focus on finding out the motivations for Chinese women consumers to buy luxury products.The proposed paper would seek to find out the underlying motivations of Chinese women consumers for buying luxury products. As the segment of a luxury product is growing steadily in China, it is imperative to understand how women are contributing to this sector and what is driving them towards such luxury products. The idea behind this proposed subject matter came from the basic background research that is being explained b elow. The chief among them is the changes in the characteristics of the Chinese women consumers and luxury brands' buying a pattern in Chinese women. The study of various previous surveys and researches indicated that Chinese women consumers are constantly becoming independent socially as well as financially. Further, they are the dominant member of the family to make decisions regarding household expenses. The greater number of women workers has also given rise to independent, single women. All these factors have given rise to an increase in the number of Chinese women consumers buying luxury products (Movius 2006; McKinsey Quarterly 2006).

Kenny Raskin gambling on Everyman Essay Example For Students

Kenny Raskin gambling on Everyman Essay The world was spared another lawyer and got a world-class clown instead when Kenny Raskins mother suggested he take an acting course while waiting to go to law school. Now the only U.S. performer in Cirque du Soleils Nouvelle Experience, hes nightly charming vacationing families, lone-wolf gamblers and the occasional Hollywood superstar who wanders into the Montreal-based companys distinctive blue-and-gold tent, attached by umbilical passageways to the Mirage Hotel in Las Vegas. Playing a mute Everyman who stumbles into the pastel world of contortionists, jugglers, trapeze swingers, et al., Raskin calls his part the throughline of the show. Hes the guy in the baggy suit who, by shows end, is absorbed by the troupe and reborn as a youngster. Raskin says, Its a very precious themethe child in all of us. (For those who feel a retch coming on, be reassured that the Euro-flavored circus handles the potentially cloying subject with remarkable grace.) Raskins caping routine is a recital on musical bells playing them himself first, then recruiting audience members to ring out the tune while he conducts. I try not to assault them, the 40-year-old Atlantan says of working with the audience, but get them to enjoy the process of playing with me. I wanted to be noticed   A Savannah native bornappropriately enough on April 1, he cant explain where he got his comic savvy. His mother is an antiquarian book dealer and his father is yes a lawyer. Where did it creep into my genes? Raskin wonders. I have no idea. One clue might be his height (56): I was the shortest of all my friends, and I was always trying to keep up, he says. I wanted to be noticed, so my humor was ingratiatingly funny. Still, performing never entered his mind. After high school, he majored in American studies (which he calls a nice, generic, pre-law dilettantes major) at Brandeis University. Following graduation, he was working in Atlanta as an intern for the Department of Natural Resources when, feeling socially out of touch in his new city, he took his mothers advice and enrolled in a class at the Academy Theatre. It was a good fit: At the Academy there was a real emphasis on transformational, physical, improvisational theatre, where if you didnt have a prop you created it out of your own body or somebody elses. Like others in the field, hes had to deal with plenty of misconceptions. When most people think mime they think Marcel Marceau, he says. But Ive gone to mime conferences for the last six years, and almost no mimes perform in white face, and almost no mimes do illusionary mime. With clowning its the same thing. People think Ringling Bros. What they dont realize is that Lucille Ball was a clown, Jonathan Winters is a clown, Dick Van Dyke is a clown. To this day, every time Dick Van Dyke flips over that divan when he walks into the living room, its still the funniest thing Ive ever seen. Raskins own definition of a clown: Somebody who looks for solutions more through his or her sensations rather than through his or her intellect. I dont want to talk about the clown as a child because I dont believe that. A clown has childlike qualities, but mainly a clown is a problem-solvera pretty lousy problem solver, actually, who goes from A to B but never on a straight line. Last fall, Raskin dealt with one of the more poignant problem-solvers in childrens literature, adapting and directing The Little Prince at Theater Emory, the professional theatre of Atlantas Emory University. I tried to stay as faithful to the book as possible, he says about his production, which featured a mix of professional and student actors with a female student as the Prince. The hardest thing was keeping the Little Prince honest and direct. You dont want the audience to go, Oh this kid is too sweet.' Atlanta theatregoers know Raskin less as a clown than as an ingratiating comic actor. At Theatrical Outfit he was the romantic pickle-vendor in Crossing Delancey, the loquacious old man of Im Not Rappaport and a ukulele-strumming, Yiddish-yammering Polonius in HamletThe Musical. As an administrator, he created two nights of new vaudeville for the Arts Festival of Atlanta, then served for four years as the festivals associate producing director of performance. It was in that capacity that he made contact with Cirque du Soleil. When the company pegged Atlanta for a visit last December, Raskin offered to help find a location for their tent. All I was really doing was trying to get a couple of free tickets, he admits. Instead, he was encouraged to send a tape of his clowning work to the Montreal office. What he assumed was a bit of professional courtesy led him to where he is now: $20 or so in debt to the blackjack tables, performing two 90-minute shows a night, six nights a week. .uf85728458cb6637e61dd32789fa03cbf , .uf85728458cb6637e61dd32789fa03cbf .postImageUrl , .uf85728458cb6637e61dd32789fa03cbf .centered-text-area { min-height: 80px; position: relative; } .uf85728458cb6637e61dd32789fa03cbf , .uf85728458cb6637e61dd32789fa03cbf:hover , .uf85728458cb6637e61dd32789fa03cbf:visited , .uf85728458cb6637e61dd32789fa03cbf:active { border:0!important; } .uf85728458cb6637e61dd32789fa03cbf .clearfix:after { content: ""; display: table; clear: both; } .uf85728458cb6637e61dd32789fa03cbf { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .uf85728458cb6637e61dd32789fa03cbf:active , .uf85728458cb6637e61dd32789fa03cbf:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uf85728458cb6637e61dd32789fa03cbf .centered-text-area { width: 100%; position: relative ; } .uf85728458cb6637e61dd32789fa03cbf .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uf85728458cb6637e61dd32789fa03cbf .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uf85728458cb6637e61dd32789fa03cbf .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .uf85728458cb6637e61dd32789fa03cbf:hover .ctaButton { background-color: #34495E!important; } .uf85728458cb6637e61dd32789fa03cbf .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uf85728458cb6637e61dd32789fa03cbf .uf85728458cb6637e61dd32789fa03cbf-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uf85728458cb6637e61dd32789fa03cbf:after { content: ""; display: block; clear: both; } READ: Last-chance dance Essay Too romantic for Las Vegas   The Cirque troupe is mainly French-Canadian (with a smattering of English, Russian and Polish performers), so Raskin spends time pumping up his schoolboy grasp of French. The biggest surprise hes had so far is how out of shape I was, he says. I didnt expect it to be so physically demanding. I had to spend three weeks letting my body go through a checklist of pains, but now everythings fine. We have a masseuse on staff. And Ive lost about 12 pounds in all the places I needed to lose it. In a Las Vegas show already brimming with the fanciful, Raskins signature routine, which hes worked on for 12 years, was deemed too romantic by Cirques artistic director. In the routine, Raskin plays a down-on-his-luck fellow who sits on a bench, propping his hat and coat on his crutch. When he sticks one arm through a sleeve of the coat looking for matches, this makeshift hat stand becomes a second character, a fantasy friend who slaps the cigarette out of Raskins hand, teases him and ultimately gives him the strength to carry on. The six-minute piece is a metaphor for my life, Raskin says. For me its about reconciling the artist with the workthe artist with the more straight side of me. Its about getting to like all aspects of yourself.

A sonnet of Sonnets Essay Example For Students

A sonnet of Sonnets Essay Poets have always created an enticing central concern within each of their poems. Its purpose is to provide the reader with the poets attitude towards an existing conflict. Nevertheless, poets face the challenge of effectively portraying the conflict in order to develop and emphasize the ambience of the central concern. Furthermore, in order to understand the attitude of two different poets who face similar conflicts, the methods of developing the central concern are to be investigated. For instance, Sylvia Plath and Christina Rossetti face comparable conflicts in their poems but their attitude towards the conflict are dissimilar. Thus, their different attitudes are revealed by comparing and contrasting the means by which Sylvia Plath develops her central concern in The Collosus to Christina Rossettis methods in her twelfth sonnet from A Sonnet of Sonnets. In brief, the means involved in developing the central concern of a poem reveal the conflict and its ambience, the concern and the poets true attitude towards the conflict. Sylvia Plath and Christina Rossetti both deal with conflicts involving a man. In The Colossus, Plath copes with her emotions and blurred, broken images after her fathers death. In Rossettis twelfth sonnet, she deals with the fact that an insurmountable obstacle is directing her true love for another man towards a different path of love. The obstacle being the realization of her love for God gives her no choice but to painfully neglect the years of true love with her lover. In both cases, they are victims dealing with conflicts of overpowering emotions neither could choose to reject or overcome. Also, the feeling of these conflicts is enhanced in similar ways. Looking at the poem as a whole, it is clear that Plath has made a metaphor of the broken images of the father to a massive, colossal statue that has been destroyed by lightning. This shows the extent to which Plath valued the image of her father. However, she claims the force of lightning to be weak and simple, in comparison to the force that holds together her deep and solid emotions for her father. She states that It would take more than a lightning-stroke, to create such a ruin implying that her emotions are almost unbreakable. In consequence, the indestructible feelings for a living man that conflict, with the fact that he is now dead, amplifies the sorrow Plath has felt. Similarly exposed in Rossettis twelfth sonnet, the power of emotion is portrayed by he dictating Love, who speaks within my mind. The power of the conflict exists in the fact that her true love dictates her, but to whom the love is directed has now changed towards God. By exposing strong feelings that are conflicting with superior conflicts, both poets amplify the ambience of harshness. Consequently, the poets continue to the intent and state of mind of each character due to these severe conflicts. When one is subject to a trouble, simply accepting it is difficult. Therefore, resolutions and worries, or concern, come along with the consequences of the problem. In Rossettis twelfth sonnet, the realization of impossibility of overcoming the emotions for God is clear. And with this, comes her quick acceptance of these new emotions, but simultaneously, comes the concern of compensating her lovers loss. As a result, to ensure her own thoughts, her tone is very soft yet commanding. The ambience of her concern reveals a strong feeling of certainty as there is no question that the concern lies in commanding her lover to find new love, rather than questioning whether or not her love may reunite with that man. By commanding him to Think not that I can grudge it Plath encourages him that there will be no costs for his actions and that she commend you to that nobler grace. .ue7778a6d5430d469bb6ce34415010b95 , .ue7778a6d5430d469bb6ce34415010b95 .postImageUrl , .ue7778a6d5430d469bb6ce34415010b95 .centered-text-area { min-height: 80px; position: relative; } .ue7778a6d5430d469bb6ce34415010b95 , .ue7778a6d5430d469bb6ce34415010b95:hover , .ue7778a6d5430d469bb6ce34415010b95:visited , .ue7778a6d5430d469bb6ce34415010b95:active { border:0!important; } .ue7778a6d5430d469bb6ce34415010b95 .clearfix:after { content: ""; display: table; clear: both; } .ue7778a6d5430d469bb6ce34415010b95 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ue7778a6d5430d469bb6ce34415010b95:active , .ue7778a6d5430d469bb6ce34415010b95:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ue7778a6d5430d469bb6ce34415010b95 .centered-text-area { width: 100%; position: relative ; } .ue7778a6d5430d469bb6ce34415010b95 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ue7778a6d5430d469bb6ce34415010b95 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ue7778a6d5430d469bb6ce34415010b95 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ue7778a6d5430d469bb6ce34415010b95:hover .ctaButton { background-color: #34495E!important; } .ue7778a6d5430d469bb6ce34415010b95 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ue7778a6d5430d469bb6ce34415010b95 .ue7778a6d5430d469bb6ce34415010b95-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ue7778a6d5430d469bb6ce34415010b95:after { content: ""; display: block; clear: both; } READ: The Poetical Works of John Milton EssayShe proves to understand the reality of this problem and makes the most out of it by reasoning that Since your riches makes me rich, conceive I am too crowned, implying that if they cannot be together, they shall at least fulfil each others love. Everything considered, her attitude towards this conflict exposes a sense of acceptance and reality of this conflict. However, her ensured concern of the man finding a new lover diminishes the overall feeling of threat from the conflict which leads to a feeling of liberation and resolution. In contrast, Plath leaves a definite attitude of hopelessness towards the conflict. From the first stanza, her central concern of whether or not she can revive the father through piecing together the broken images is clear. Unfortunately, it is also obvious that she has a strong stance in finding only failure in any attempt. Believing I shall never get you put together entirely, makes it difficult for any change during the development of the concern. Therefore, the tone of complete doom, isolation and hopelessness gives no sense of resolution. Hence, as Plath brings the reader through the despair of this conflict and stripping all hope from the poem, she shows her and certainty of failure. Moreover, giving up her efforts in piecing together the broken images sets closure in continuing her life with emotions of guilt, despair and failure. Clearly, the similar feeling of certainty to the answer of the central concern protrudes in each poem. Also, the similar conflicts and their ambience of severity relate to one another. However, the difference which is vital to distinguishing one poets mind from anothers is in what way the belief of certainty lies; revealing the poets attitude towards the conflict. Plaths certainty lies in failure which results in no resolution whatsoever, whereas Rossetti concludes her poem with certainty of success, resolution and rejoice. Ultimately, this vital dissimilarity of the poems is one aspect of the poet which is exposed through the comparison of the methods of developing the poets central concern.