Qualities of Good Teachers Essay Example for Free

Qualities of Good Teachers Essay There are many internet sources that post lists of qualities that all great teachers should possess. These lists range from 10-15 characteristics, but I believe that they can be summed into a love for children, not only a firm knowledge in their content area but passion as well, and that they take the time to get to know their students by developing a healthy student-teacher relationship. In his book Qualities of an Effective Teacher, James Stronge subcategorizes qualities into the teacher as a person, as an individual, and he lists specific qualities that show caring and responsibility for students. However, I believe what it really boils down to is a joy of being around students and a love for the job. If a teacher genuinely loves children, he or she will do whatever necessary to help that child succeed, including planning, mentoring, differentiated teaching, etc. Harry Wong states in The First Days of School that the students are going to want to know the teacher as a person and if the teacher will treat them with respect. Therefore, effective teachers will take the time to show the students respect and involve them in their own learning process. I don’t think that there is a difference between good and effective. I think that is just a matter of semantics. Of course we might be able to specify a good teacher is one who has a joy and gets the students motivated to learn while an effective teacher is one who performs the preparation tasks well: good planning, classroom management, monitors student progress. However, I think that if a teacher has such a joy for teaching and is enthusiastic, he or she will want to be effective as well and keep good records and plans, etc. The same is true for those teachers who are great at the behind-the-scenes tasks. If someone is so well-prepared, why wouldn’t he have enthusiasm and be able to motivate the students? Therefore, I believe separating these two words is impossible, for all good teachers are effective and vice versa.

Bill of Materials and Cost Estimate Sample Essay Example for Free

Bill of Materials and Cost Estimate Sample Essay Total: 201,810 Pesos| B. FOOTINGS, COLUMNS AND BEAMS Item Description| Quantity| Unit| Unit Cost (Pesos)| Total Cost| 1. Albay Sand| 71| m3| 380| 26,980| 2. Coarse Aggregate| 141| m3| 850| 119,850| 3. Portland CementAlbay Sand| very small| m3| | | 20. Portland Cement| 1| pc| 230| 230| 21. Labor Cost (30%)| | | | 42,117| 22. Indirect Cost (10%)| | | | 14,039| Total: 196,542 Pesos| K. ELECTRICAL WORKS Item Description| Quantity| Unit| Unit Cost (Pesos)| Total Cost| 1. Panel Board Main | 1| unit| 3,500| 3,500| 2. 4† Electrical Tape| 3| pcs| 25| 75| 3. Wall Lamp| 16| pcs| 350| 5,600| 4. Triple Switch| 3| pcs| 200| 600| 5. Single Switch| 11| pcs| 150| 1,650| 6. Convenience Outlet| 20| pcs| 150| 3,000| . 20 mm dia. UPVC x 3 m| 10| pcs| 120| 1,200| 8. 25 mm dia. UPVC x 3 m| 3| pcs| 150| 450| 9. 30 mm dia. UPVC x 3 m| 10| pcs| 180| 1,800| 10. 32 mm dia. UPVC x 3 m| 3| pcs| 210| 630| 11. 22 mm2 THHN wire| 1| box| 1,500| 1,500| 12. 3. 5 mm2 THHN wire| 5| box| 1,300| 6,500| 13. 5. 5 mm2 THHN wire| 6| Box| 1,200| 7,200| 14. Labor Cost (30%)| | | | 10,112| 15. Indirect Cost (10%)| | | | 3,371| Total: 47,187 Pesos| L. SUMMATION OF COSTS Item Description| Cost| 1. Site Works | 201,810 Pesos| . Footings, Columns and Beams| 1,469,440 Pesos| 3. Slabs| 458,481 Pesos| 4. 6† CHB Wall| 363,420 Pesos| 5. Ceiling| 301,386 Pesos| 6. Windows| 52,500 Pesos| 7. Doors| 107,100 Pesos| 8. Painting| 248,634 Pesos| 9. Forms and Scaffoldings| 602,778 Pesos| 10. Sanitary Works| 196,542 Pesos| 11. Electrical Works| 47,187 Pesos| 12. 20% Profit| 809,856 Pesos| 13. 10% Legal Expenses| 404,928 Pesos| Total Project Cost: 5,264,062 Pesos Say 5. 27 Million Pesos | The Estimated Cost of the Project: 5,270,000 Pesos

Photographer Comparison Essay: Cindy Sherman and Omar Diop

Photographer Comparison Essay: Cindy Sherman and Omar Diop Introduction The following study will analyse and compare the contemporary photographers- widely known for their conceptual portraits- American Cindy Sherman (b. 1954) and Senegalese Omar Victor Diop (b. 1980). The works selected are Albert Badin by Diop and Untitled (Self-Portrait with Sundress), both of which feature a persona explored through self-portraiture and conceptual portraiture. Thus, the works go in hand with my theme of identity. Cindy Sherman studied visual arts at university, focusing firstly on painting before later working with photography, which is now her most prominent medium. Sherman is one of the most respected photographers of the late twentieth century. The majority of her photographs are self-portraits, each featuring a feminist element which challenge the representation of women in society and media, as well as American popular culture. Hence, her works are a vehicle for commentary on contemporary American society. Omar Victor Diop studied at the Business School of Paris and worked in communications before concentrating solely on photography. His most famous series is Diaspora (2014) featuring staged self-portraits inspired by Spanish portraiture of the 14th and 15th century. It explores the identity of modern Africans and the role of African history, culture and heritage in the formation of such. Thus, his works explore the interconnectedness of collective and personal identity. Note: Diops name is both correctly spelt as Omar Victor Diop and Omar Viktor Diop. In this study, the former will be used. Diop Analysis of formal qualities Diops series Diaspora meaning the dispersion of people from their original homeland-was first exhibited in 2014. The series appropriates Spanish portraiture of prominent African figures who experienced African diaspora in the 14th and 15th century, with Diop as the subject. Diop produced this series while residing in Spain, during which he experienced cultural alienation. In recreating portraits of famous Africans who were alienated in the most extreme sense in Europe- experiencing racism, mocking, and complete abandonment from society- Diop conducts a personal search for both his own identity and the collective identity of Africans in Europe. The work investigated in this comparative study is Albert Badin (medium), a recreation of a historic portrait by Gustaf Lundberg. Badin- originally named Couchi- was born in 1747 or 1750 in either Africa or Saint Croix before being forced into slavery. Badin- meaning trickster was treated as a noble savage and permitted to work as a Swedish court-servant and butler of Queen Luisa Ulrika of Sweden. Badin was also a diarist and a fond member of the Swedish courtly life. As with the other figures in the Diaspora series, Badin- as stated by Diop- did not fulfil the usual expectations of the African diaspora insofar as they were educated, stylish and confident, even if some of them were owned by white people and treated as the exotic other. (via theguardian.com) Thus, through recreating the portrait, Diop investigates his own cultural heritage and gives figures omitted from history a voice once more, as well as celebrates them, as despite existing at a time where it was very unlikely for them to flourish during colonisation and slavery. (via trueafrica.co) they managed to lead a successful life. Diop achieves this through restaging the original portrait, wearing a near-identical costume and recreating the composition and colour scheme of cool shades of blue and white, which create a sense of harmony and balance. However, the portrait is not exactly copied in Diops piece, merely appropriated. It is readily recognisable, however, the works in Diops series all have a modern-day narrative through references to football. In Albert Badin, these are a whistle and a red card which replace the original works chess pieces. Curator Raquel Wilson has stated the use of football equipment demonstrates the duality of living a life of glory and recognition while simultaneously confronting the challenges of being other' (via omarviktor.com). Modern African players achieved recognition in Europe, yet face still racism, similarly to Badin. Diop states that this is the kind of paradox I am investigating in my work. as there is a very interesting blend of glory, hero-worship and exclusion. (via theguardian.com). The use of football equipment in Diops works ties together racism in both the past and present. In terms of formal qualities, the work mimics and appropriates the original portrait. Diop has a near identical angled tilted head, however, the original portrait is titled to the left whereas Diop turns to the right. Diop wears a similar costume and pose, as well as facial expression: both figures have eye-contact with the viewer in a confrontational, yet playful and manner, as if the figure were challenging the viewer to a game of chess or- in Diops work- presenting the viewer with a red card and whistling at him. In football, this means that the player has to leave the field. This could be representative of Diop criticising the viewer and indeed society of omitting Badin from history, punishing them with the red card. Annotations of Diop Modern appearance: through the high quality of photograph, the piece appears sleek and fashionable, which is to be expected, as Diop also works in fashion photography. The work is not edited to mimic the old and worn appearance of the original piece, as Diop wishes to give the piece a clear modern look. Although Diop recreates a portrait from the 18th century, there is a clear modern narrative through the aesthetics of the work and the use of football equipment. This highlights that problems Badin experienced hundreds of years ago- such as racism and alienation- remain contemporary issues today, and should not be forgotten. Comments on racism in past and present through football props: By making all the figures carry objects related to football, like balls, red cards and studs, I linked them to the present in order to situate them within the debate on immigration and the integration of foreigners into European societies. All these eminent but unknown people were the first to obtain recognition for black people for their exceptional talent. Today, its a talent for football that gives you that passport. (Omar Victor Diop via trueafrica.co) Symbolic form: Diop holds the whistle and red card in a staged manner, allowing the viewer to clearly see the objects. The viewers eye is drawn to them, indicating their importance. Head turned to right: Diop does not exactly replicate the original portrait, although the overall composition is near identical. Annotations of original portrait Head turned to left: one of the key differences between Diops work and the original portrait. Chess pieces: Badin hold chess pieces, representing his intellectual as well as playful and entertaining personality. Interpretation of function and purpose Diop himself poses as a forgotten man. The work is a self-portrait, and as a Sengalese himself, Diop thus explores his own identity, as well as his African heritage. Diops work demonstrates the link and interconnectedness between cultural and collective identity and his personal identity, critically through putting himself in the shoes of figures of the African diaspora as Diop takes on the role of Badin and poses as him. Through the use of modern football equipment and the sleek appearance of the photograph, there is a modern narrative prevalent in the piece. As Diop stated, he wanted to bring these rich historical characters into the current conversation about the African diaspora and contemporary issues around immigration, integration and acceptance. (via thegurdian.com) Evaluation of cultural significance As mentioned previously, Diop gives African historical figures omitted from historical discourse a voice who Diop states ought to be celebrated (via trueafrica.co) and forces the figures into a modern narrative once more. Diop himself belongs to the modern generation of young, successful Africans who chose not to abandon their country, despite being presented the chance to: Diops family is in the upper middle-class and Diop studied and worked in Europe for many years. Thus, contemporary issues relating to Senegal and the African continent influence his work greatly. The portrayal of Africa in often a negative one, featuring nothing but poverty and generalising the large and diverse continent to nothing but stereotypes. In depicting successful African figures who were forgotten in historical discourse, Diop reminds the viewer of the complexity of African history and culture, and speaks against and challenges the negative representation of Africans in popular culture. Furthermore, Diop explores what it means to be a part of modern Africa, and investigates how history influences both personal and collective identity. Through confronting the viewer with historical figures- perhaps in a damning way, represented through presenting the viewer with a red-card- Diop forces the viewer to contemplate and reflect on African history, critically as Diop himself exhibited the series in Dakar and later in France, which has a colonial past and a large amount of African immigrants. Therefore, both the artist and the viewer contemplates the balance and interconnectedness of modern-day Africa and the rich and complex African diaspora. Sherman Annotations Caricature of stereotype: In this work, Sherman takes on the role of a middle-class woman, which is indicated by her tacky jewellery and costume, on vacation, shown by her intense sun-tan. Thus, Sherman handles a multitude of stereotypes in the work: Americans, women, and the working-class. Analysis of formal qualities The work analysed is Untitled (Self-Portrait with Sundress), however, while researching, it was found that sources have also titled the piece Untitled (Self-Portrait with Spraytan). In this study, the former will be used according to the auction site artnet.com, which was deemed a reliable source. The piece was created in 2003 and is a chromogenic print on smooth white paper with full margins, and 66 * 40 cm. The work is a part of Shermans early 2000s series of self-portraits, which feature Sherman in different costumes and poses, portraying female stereotypes in American film, television, and advertising. Through the medium of photography, Sherman mimics reality and constructs new identity: a persona. In doing so, Sherman criticises the subject and role she takes on. In the case of Untitled (Self-Portrait with Spray Tan), Sherman critiques American society for its superficiality and consumerism as well as banality. As with most of Shermans work, it is a self-portrait, in which Sherman uses makeup, costume, and props to depict a common American stereotype and visually and socially-defined personality type. Sherman is barely recognisable and easily changeable as she depicts an intensely tanned subject in a sundress. The subject is posed in an unnatural manner, and her features are exaggerated, thus creating a caricature. In terms of visual properties, Sherman Quotes I feel Im anonymous in my work. When I look at the pictures, I never see myself; they arent self-portraits. Sometimes I disappear. via artlyst Interpretation of function and purpose The work forces the viewer to confront and reconsider stereotypes through. Sherman does not define where she stand in relation to he works, and the interpretation is left open to the viewer. Ultimately, the reaction of the public to her work says more about the viewer than the subjects themselves. In another sense, Sherman argues that personal identity is comprised solely of social dictates and personal intention in that she constructs a persona entirely of vison and socially defined personality archetypes. more Protagonist can escape role, identity construct, fluid, persona Sherman does not fix herself in single social position (quote) Evaluation of cultural significance Sherman has played a major role in various art movements, each of which are reflected in the piece. Feminist movement: Emerging in the late 1960s, the movement sought to criticise and change the world through art, with a specific focus on women and their roles in society over a longer period of time, being the nineteenth to twenty-first century. Sherman, as other feminist artists, include the female perspective in their works and question the social landscape of their context. She explores femininity as a social construct and examines female typologies. In Untitled (Self-Portrait with Sundress), Sherman takes on the role of the stereotype of a sun-tanned, middle-class American woman on vacation, with a so-called cheap appearance. Through creating this character, Sherman explores the role of appearance in the formation of identity, particularly female identity. Thus, Sherman reworks archetypes as both a creator- and woman- and character. She re-establishes women and what it means to be a woman in todays world, and freezes herself in the role she takes through the medium of photograp hy. Thus, the works are both deeply personal and feminist. The Pictures Generation: This label often refers to both contemporary artists and specifically visual artists active in the seventies and eighties. Critically, the artists use appropriation and montage, as well as explore the constructed nature of images through the medium of photography. As with Shermans work, members of this movement often seek to trigger social criticism in viewers saturated by mass media. Indeed, the artists themselves were heavily influenced by the saturated image culture of the United States, and thus, the works challenge traditional art forms and mimic the artificiality of media and in particular advertising. Works appear mass-produced and blur between fine art and popular images, as they are composed with conceptual frameworks. Sherman specifically explores the boundaries between original and fabricated reality through an exaggerated appearance with a clearly staged environment and printed the photographs in large-scale and bright colours, yet the works are c learly inspired by reality. This creates a blend of performance and photography itself. Diop Sherman Making comparisons and connections Formal qualities: Whilst both works share the medium of photography and are self-portraits, the subjects portrayed are vastly different. Both Sherman and Diop take on personas which differ greatly: Sherman poses as an American sun-tanned woman, Diop is a historical figure. In terms of visual properties, the photographs Position, composition Both artists appropriate to some extent. Diop directly mimics a historical portrait, whereas Sherman imitates a specific archetype. The subject is easily recognisable, and thus leads the viewer to question the role of appearances in the formation of identity, and how appearances can or cannot be misleading: does the fact that the artists dress up as a figure mean they are the figure? As the works are self-portraits and the subject is the artist themselves, there is undoubtedly a strong personal link to each work for the artist. Furthermore, both works have a strong element of artificiality. The photographs are staged and feature the subject in exaggerated costume and makeup, and are not designed to be an accurate reflection of reality. However, Sherman deliberately creates a caricature of the subject, whereas Diop recreates a historical portrait with added football props, carrying a symbolic meaning. Function and purpose: Critically, Diop explores the paradox of modern and historical identity, as well as the role of history in the formation of contemporary African identity. Through posing himself as Albert Badin and the use of football symbolism, Diops work investigates the link between our culture, the history of our homeland, collective and personal identity of Africans. Contrarily, Shermans work does not have a focus on history, and instead focuses solely on modern American society and how this influences the personal identity of women. Cultural significance: In terms of cultural significance, the two artists share little to no similarities. However, critically, both artists reflect their own cultural context through their works: Sherman mirrors American stereotypes whereas Diop explores the contemporary question many young Africans face today, being balancing cultural history and modern identity. Making connections to own art making practice Formal qualities: Photography, self-portraits, costume and use of props, simple background Function and purpose: Aim of pieces, small size?, artificiality à ¯Ã†â€™Ã‚   Sherman Cultural significance: Cultural element à ¯Ã†â€™Ã‚   Diop Sources: http://www.artnet.com/artists/cindy-sherman/untitled-self-portrait-with-sundress-aHQ26YzCxxzu-QkGJzHEAQ2 http://www.artlyst.com/Cindy.Sherman http://www.rencontres-arles.com/C.aspx?VP3=CMS3VF=ARLAR1_213_VFormFRM=Frame%3AARLAR1_254 http://africanah.org/omar-victor-diop-2/ http://www.omarviktor.com/project-diaspora http://trueafrica.co/article/omar-victor-diop-on-dakars-spectrum-of-possibilities/ https://i-d.vice.com/en_gb/article/omar-victor-diop-is-documenting-a-new-generation-of-african-creatives http://www.theartstory.org/movement-feminist-art.htm http://www.theartstory.org/movement-the-pictures-generation.htm http://www.theartstory.org/movement-conceptual-art.htm http://www.blackpast.org/gah/badin-adolf-1747-1822 http://www.artspace.com/magazine/art_101/art_market/pictures_generation-51922

Civil society in cuba Essay -- essays research papers

According to the Marxist concept of society, it is paramount to analyze the term "political organization of society", which is the expression of civil society as a whole. If we continue approaching the Marxist perspective, the origin of political organization of society lies on the division of society in antagonist classes, which leads to the differences in social and political life, and new social relationships appear: political and juridical, with their own organizations and institutions (State and political parties), which are founded in order to conquer power. Thus , the political organization of any society divided into classes is defined as "the system of institutions and organizations that regulate political relationships among classes, nations and States". (Konstantinov, F. Fundamentos de la filosofà ­a marxista-leninista, Parte II, Materialismo histà ³rico, De. Ciencias Sociales, La Habana, 1968, p. 149). As to other Marxist authors, the political organization in its narrow meaning represents the "system of the dictatorship of the dominant class", and in its widest meaning it represents "all who take part in the State affairs". The term "political organization of society" establishes a difference between civil society and State (Hegel already had dealt with that) and this difference is: the relationship between civil society and its political organization can be expressed as the relationship between contents and shape....

Andre Dubus IIIs House of Sand and Fog Essay -- Andre Dubus III House

Andre Dubus III's House of Sand and Fog "House of Sand and Fog," by Andre Dubus III, explores the catastrophic repercussions of a complex misunderstanding between three characters. The conflict initially involves a dispute between Kathy Nicolo and Massoud Behrani over the â€Å"rightful† ownership of a house. The county wrongfully evicts Kathy and Behrani then buys her house at an auction. When Deputy Sheriff Lester Burdon enters the situation, events quickly slip out of control. Superficially, Lester’s character is important to the novel because he acts as a catalyst, propelling the plot into unexpected action. But Lester impacts the novel in a more profound way, because were it not for his insecurity and selfishness, the rest of the characters could have been spared an avoidable tragedy. Lester’s commitment to help Kathy at all costs undeniably alters the outcome of the novel. By providing her with money for a motel, and later with shelter at a friend’s cabin, he allows her to continue avoiding the reality of the situation. If Lester had never met Kathy, she would have been forced to be upfront with her lawyer. Instead, Kathy tells herself â€Å"there a limit to how much [her lawyer] wants to help,† and continues to tell Connie Walsh that she is staying with friends (88). Knowing the severity of Kathy’s plight could have prompted Connie Walsh to more ardently pursue the county on Kathy’s behalf. Because of Lester, however, the truth is kept from the lawyer. Additionally, although proclaiming his love for her, Lester becomes a negative influence on Kathy. Under the false sense of security he provides, Kathy, a recovering alcoholic, allows herself to start drinking again after an abstinence of three ye... ...observes the situation as merely a problem that requires a quick fix, and he sets about â€Å"fixing† the situation instead of fulfilling Kathy’s emotional needs. In the tradition of a Greek tragedy, Lester’s insecurity is his hamartia, his tragic flaw. His egocentrism stems from this, causing him to overlook the needs of others in his quest for self-justification. This is not to say that the awful outcome of the novel can be attributed to Lester alone. All three main characters fail to understand one another and rush to false assumptions based on cultural differences. But the fatalities of the scenario can be traced back to the overreactions of Lester. In the form of Lester Burdon, Dubus imbues his story with a potent warning against dishonestly with oneself. Only when a man truly understands himself and accepts his flaws can he attempt to overcome them.

Free Oedipus Rex Essays: The Role of Characters :: Oedipus the King Oedipus Rex

The Role of Characters in Oedipus the King Characters play a very important role in the play "Oedipus the King" by Sophocles. Without characters, the play would lack a certain dimension and be very difficult to read. The presence of characters in the play make it more easily understood. If characters did not appear in the play it would be close to impossible to understand it since everything that takes place is through the words of the characters. Also if there were no characters the outcome of the play would be different. The significance of characters in the play is very obvious. Without them the play would be much shorter and much more boring. The role of characters is very important to the play. Characters make the play possible just by the virtue of existing. If they did not exist the play would not either. If the play did not exist then the characters would not either. The characters and the play are codependent and need to have a symbiotic relationship to ensure their mutual survival. A lack of characters in the play would make very difficult reading and perhaps more difficult viewing. A lack of characters would necessitate some other device to be used and a substitute has not been found that replaces the role characters play in a play. An example from the play is when Oedipus was speaking to Teiresias: "I did not know then you would talk like a fool ­or it would have been long before I called you". If there had not been any characters in this play, this could not have happened. If the play did not have characters the outcome would be much different. All the actions and conversations could not have taken place without the use of characters. Characters made the play and its tragedy possible. Without characters nothing could have taken place. They made it possible for Oedipus to kill his father and have sex with his mother and for everything that was bad to happen. If Jocasta or better Oedipus did not exist within the context of the play everyone would have been much happier and the tragedy could have been avoided. Even if the herdsman who saved Oedipus as a child did not exist or the messenger from Cithaeron the tragedy of the play would have been avoided and made for a much happier ending.

Microsoft Environment Analysis Essay

1. The five vulnerabilities that exist for this LAN based workgroup are 2755801, 2501696, 2588513 2639658, 2659883. 2. Yes, the vulnerability that involves privilege elevation is 2639658 (Vulnerability in TrueType Font Parsing), but it is not a high priority. 3. 2719662 Solution: Workarounds refer to a setting or configuration change that does not correct the underlying issue but would help block known attack vectors before a security update is available. Apply the Microsoft Fix it solution that blocks the attack vector for this vulnerability. Disable Sidebar in Group Policy. Disable the Sidebar in the system registry. 2737111 Solution: Workarounds refer to a setting or configuration change that does not correct the underlying issue but would help block known attack vectors before a security update is available. Disable WebReady document view for Exchange. 2755801 Solution: Workaround refers to a setting or configuration change that would help block known attack vectors before you apply the update. Prevent Adobe Flash Player from running. Prevent Adobe Flash Player from running on Internet Explorer 10 through Group Policy on Windows 8 and Windows Server 2012. Prevent Adobe Flash Player from running in Office 2010 on Windows 8 and Windows Server 2012. Prevent ActiveX controls from running in Office 2007 and Office 2010. Set Internet and Local intranet security zone settings to â€Å"High† to block ActiveX Controls and Active Scripting in these zones. Configure Internet Explorer to prompt before running Active Scripting or to disable Active Scripting in the Internet and Local intranet security zone.