Final Report Essay Example for Free

Final Report Essay Information need not be passed down through physical means like mail or newspapers. It can be done through SMS (short messaging service), a phone call or even an email. Underlying such great inventions is the use of electronic devices to transmit and receive signals. Due to the demand for faster and larger data flow, complex systems such as Code-Division Multiple Access (CDMA) have been developed. This project is confined to the fundamental concepts used in digital communication. These key concepts include sampling, quantization and frame synchronization. The circuit designed is meant for one-way dataflow. It supports transmission by one user from any analog input. Hence, it is not necessary to select between multiple analog inputs using the frequency-division multiplexing technique. In transmitting wirelessly, a laser and photodiode are used instead of antennas. This choice is made because it is complex to build a Frequency Shift Keying (FSK) circuit. Without FSK, an antenna would need to be 75km long in order to transmit a wave of 4 kHz. 1. 2 Problem Identification In this project, a laser pointer is used to transmit analog signal wirelessly. In order to realize digital transmission, the analog signal must be converted into digital form using a Pulse Code Modulation (PCM) encoder. Before the signal can be decoded at the receiver end, frame synchronization must be achieved. Hence, a training sequence must be sent to synchronize the receiver and transmitter. Next, a Digital Phase Locked Loop (DPLL) is needed to lock on to the transmitted signal and generate clocks at the receiver end. In the final stage, the digital signal is converted back to an analog signal. This signal is then played through a speaker. 1. 3 Constraints Availability of Manpower Our main constraint lies in the shortage of manpower. Due to the complexity of the DPLL Circuit and Training Sequence Identification Circuit, more members should be allocated to these two subgroups. However, this is not possible as our group consists of only eight members. This constraint will be addressed in the implementation section of this report. Components The design of any combinational logic circuit is confined to the availability of chips (gates). In this project, we are not provided with AND and NOR gates. Hence, knowledge of Boolean algebra will aid us in realizing any logic with the universal NAND gate. In addition, the design of logic circuits also depends on the space of breadboard. Hence, minimizing the number of chips used takes higher precedence over the simplicity of design. This is to achieve compactness on the breadboard. Time A short time frame of seven weeks is given to build a laser communication system. Apart from building the prototype, our group must submit design and final reports for grading. Hence, it is critical that all group members adhere to the schedule. Further, since there are no extra lab sessions provided for testing and debugging, subgroups must build the circuits before going for the lab session. . System Design 2. 1 Project Requirements 1. 2. 048 MHz Master Clock, 64 KHz Bit Clock and 8 KHz Frame Synchronization: with rising edges aligned. 2. Clock signals into PCM encoder, training sequence generator and multiplexer. 3. Coder and decoder chips are needed for analog to digital conversion and digital to analog conversion respectively. 4. Model the photodiode as a voltage source. 5. Yield minimal noise in the photodiode circuit. 6. DPLL: Determine the value of K, N, M and constant phase difference between local clock and data sequence. 7. DPLL: Design a divide by N Counter. 8. Frame synchronization must be achieved. 9. Training Sequence must be generated. 10. A D flip-flop is required to switch training frame to data frame at the correct instance. 11. A logic circuit must be implemented to identify the training sequence at the receiver end. 12. Implement a â€Å"Divide by 8† counter to yield 8 KHz Frame Synchronization Receiver from the 64 KHz Bit Clock. 2. 2 Design of System The system consists of two functional components. They are the transmitter and receiver. In the discussion of this system, the transmitter side will be first discussed followed by the receiver end. 2. 3 Design of Transmitter The transmitter consists of several sub-blocks. These sub-blocks include the clock and counter networks, training sequence generator, switch, encoder and the laser link. 2. 3. 1 Clock and Counter Networks In this system, 2. 048MHz Master Clock (MCLK), 64 KHz Bit Clock (BCLK) and 8 KHz Frame Synchronization Signal (FSYN) are required. BCLK and FSYN are required by the training sequence generator and multiplexer (MUX) switch respectively. The encoder chip requires MCLK, BCLK and FSR. As such, the breadboard layout shown in Figure 1 is adopted. Figure 1: Breadboard Layout (Transmitter) Master Clock (MCLK) The Master Clock (MCLK) is obtained from the signal generators available in the lab. As a high speed clock is needed by the PCM encoder to function, the value of 2. 048 MHz is chosen. MCLK provides the timing signal to synchronize the other clocks in the system. In this manner, the rising edge of the generated BCLK and FSR will coincide with MCLK. Bit Clock (BCLK) The Bit Clock (BCLK) frequency is 64 KHz. This is generated by inputting MCLK into the Counter (74HC191) followed by a D Flip-flop (74HC74). BCLK is required because the frequency of bits generated by the encoder is 64 KHz. The BCLK allows the bit stream to be synchronized with the clock network. Frame Synchronization Signal (FSYN)

Mon Masque A Moi French Essay

Mon Masque A Moi French Essay Le cours dà ©ducation artistique dà ©signe un ensemble complexe denseignements et dactività ©s se prolongeant pendant et en dehors les horaires scolaires. Ces actività ©s ont leur place à   là ©cole sans pour autant à ªtre toutes intà ©grà ©es dans les programmes denseignement. Là ©ducation artistique aide les à ©là ¨ves à   acquà ©rir des habilità ©s dans la vie sociale. Cest une discipline qui incite à   la crà ©atività © et à   la diversification. Cet apprentissage permet daccà ©der à   la culture dans le but de faire dà ©couvrir et construire pour apprendre à   voir, et à   analyser les productions dart. Tout au long de cette session, nous avons dà ©pouillà © le programme-cadre dà ©ducation artistique (1re à   la 8e annà ©e), du curriculum de lOntario. Ceci nous amà ¨ne à   la prà ©sentation dun scà ©nario dapprentissage de la dite discipline avec une intà ©gration des à ©tudes sociales et du franà §ais afin de rendre notre travail plus vivant et motivant pour les à ©là ¨ves de 4e annà ©e. Les à ©là ¨ves à   ce niveau dà ©ducation ont dà ©jà   bien explorà © le domaine des arts plastiques spà ©cialement la technique du modelage. Les manipulations vont cependant à ªtre moins difficiles et pas à ©tranges. Il faut aussi dire quils sont bien capables de faire des recherches grà ¢ce à   loutil informatique. Mon masque à   moi est un projet qui invite là ©là ¨ve à   à ªtre à   la fois spectateur et auteur. Ce projet offre de multiples possibilità ©s dexplorations ludiques. Il convient de prà ©voir des actività ©s dexploitation, de recherche et de production autour de la culture. Selon le curriculum des à ©tudes sociales ‘lidentità © culturelle de là ©là ¨ve est faà §onnà ©e par divers à ©là ©ments familiaux, sociaux et ethnoculturels (2004:18). De par la mixture dans les à ©coles, les à ©là ¨ves sont appelà ©s ‘†¦Ãƒ   se forger une identità © empreinte douverture à   la diversità © (2008:19), mais ceci ne serait possible que si ils prennent connaissance des origines de la culture des autres. Pourquoi le masque africain? Dans toute socià ©tà © humaine, le masque na jamais à ©tà © ignorà © dà ¨s que lon fait rà ©fà ©rence à   la culture. Que ce soit lors des reprà ©sentations traditionnelles ou des festivals, le masque a sa place et joue un rà ´le bien important. Le berceau des civilisations ou encore lAfrique, est le continent qui est trà ¨s cà ©là ¨bre pour son culture en gà ©nà ©ral et son art en particulier. Le masque est un objet trà ¨s artistique à   cause de son caractà ¨re dà ©doublà © et la diversità © de ses formes et styles. Ce scà ©nario dapprentissage,  «Mon masque à   moi » traite de lart dans la culture africaine. À la fin de ce scà ©nario, les à ©là ¨ves seront parfaitement en mesure de rà ©aliser une un masque africain tout en comprenant son origine. Ce scà ©nario est stimulant pour les à ©là ¨ves, car ils doivent constamment utiliser leur capacità © de raisonnement et ils dà ©couvrent une nouvelle dimension chez les personnes quils croyaient bien connaà ®tre (leurs pairs, les membres de la communautà ©, le personnel de là ©cole). À mesure que se dà ©ploie le scà ©nario, les à ©là ¨ves sont appelà ©s à   vivre de nombreuses expà ©riences dà ©quipes, allant de lhistoire du masque africain et sa symbolisation, à   la production de leur propre masque. Chemin faisant, ils consulteront les sites internet proposà ©s ou de leur choix en rapport avec la culture du masque africain. Cette leà §on sera proposà ©e aux à ©là ¨ves pendant le mois de fà ©vrier qui n est autre que le mois de la cà ©là ©bration de lhistoire des noirs. La salle de classe ayant revà ªtu les affiches officielles du mois des noirs, il est important que les à ©là ¨ves comprennent certaines facettes de lhistoire africaine. Ce scà ©nario est conà §u pour une utilisation immà ©diate pendant le mois de fà ©vrier. Il sy trouve en annexe une sà ©rie de documents utiles, qui faciliteront la tà ¢che aux enseignants: fiches pour les à ©là ¨ves, grilles dobservation, lettre aux parents, pictogrammes, à ©valuations formatives. Les adaptations nà ©cessaires pour les à ©là ¨ves en difficultà © et plusieurs actività ©s denrichissement permettent de qualifier ce scà ©nario denseignement diffà ©rencià © I. Tà ¢che globale I-1 Tableau de compà ©tences visà ©es Classe cible: 4à ¨me annà ©e du primaire Titre du projet: Mon masque à   moi Durà ©e du projet: 150 min Disciplines Éducation artistique Franà §ais Études sociales Domaines Arts visuels Écriture Communication orale Canada et le monde Compà ©tences visà ©es -Analyse critique et apprà ©ciation des productions artistiques -Application du processus de crà ©ation artistique Habiletà ©s de la pensà ©e Utilisation des habilità ©s de traitement de linformation Communication Expression et organisation des idà ©es et de linformation Connaissance et comprà ©hension Connaissance des à ©là ©ments à   là ©tude. Habiletà ©s de la pensà ©e Utilisation des habiletà ©s de planification. Communication Communication des idà ©es et de linformation, de faà §on orale, à ©crite et visuelle, à   des fins prà ©cises et pour des auditoires spà ©cifiques. Utilisation des conventions et de la terminologie à   là ©tude. Attentes Exprimer ses sentiments, ses idà ©es et son apprà ©ciation à   là ©gard de diverses productions artistiques, les siennes, celles de ses camarades et celles dartistes, en se servant de termes simples mais justes Produire une varià ©tà © dÅ“uvres à   deux et trois dimensions en appliquant les techniques apprises et en suivant sommairement les à ©tapes du processus artistique. -Planifier ses projets dà ©criture en utilisant des stratà ©gies et des outils de prà © à ©criture. -Produire des messages varià ©s, avec ou sans à ©change, en fonction de la situation de communication. Populations -Expliquer et comprendre les composantes de la culture et le fonctionnement des groupes Contenus dapprentissage Choisir une Å“uvre et justifier sa prà ©fà ©rence en se rà ©fà ©rant aux à ©là ©ments clà ©s, à   son và ©cu et à   ses intà ©rà ªts personnels (expliquer sa prà ©fà ©rence pour un masque) Expliquer les idà ©es et les à ©motions à ©voquà ©es dans diverses productions artistiques. Utiliser, seul ou en groupe, diffà ©rentes stratà ©gies de prà © à ©criture pour produire des textes Produire divers actes langagiers. Prendre la parole spontanà ©ment dans un contexte formel ou informel : de travaux dà ©quipe, aux à ©tapes de la planification, de la gestion, de la rà ©alisation et de lobjectivation Groupe- identità ©- communautà ©-reprà ©sentation Rà ©pertorier des articles en lien avec lactività © Dà ©montrer des attitudes positives à   là ©gard de ses obligations et nommer les contraintes qui simposent à   lactività ©. Expliquer comment un masque peut reprà ©senter un groupe de personnes Utiliser le vocabulaire approprià © au sujet à   là ©tude. I-2 Approches denseignement et stratà ©gies dapprentissage Afin de permettre la rà ©ussite chez le plus grand nombre dà ©là ¨ves possible, lenseignant devra prendre en considà ©ration les diffà ©rents styles dapprentissage des à ©là ¨ves et modifier son style denseignement en consà ©quence. Pour cette leà §on, les approches et stratà ©gies suivantes devront à ªtre privilà ©già ©es afin de permettre une rà ©ussite optimale des à ©là ¨ves: Approches denseignement Le travail en projet †¢ Permet à   là ©là ¨ve la libertà © de sexprimer par la crà ©atività ©; †¢ donne place à   lautonomie et la responsabilità ©; †¢ permet de respecter le rythme de là ©là ¨ve. Lintà ©gration des matià ¨res †¢ Prà ©sente un contexte plus rà ©el de la vie quotidienne; †¢ permet de revisiter les notions apprises dans dautres matià ¨res; †¢ motive davantage là ©là ¨ve, donne un sens à   ses apprentissages. Lapproche coopà ©rative †¢ Donne à   lenseignant le rà ´le de  « facilitateur  » dans là ©change; †¢ favorise lautonomie, puisque les à ©là ¨ves apprennent les concepts dorganisation et de planification par eux-mà ªmes; †¢ permet un apprentissage centrà © sur les à ©là ¨ves plutà ´t que sur lenseignant. Stratà ©gies dapprentissage Le travail de recherche †¢ Aide à   retenir lattention de là ©là ¨ve sur le contenu à   là ©tude; †¢ aide là ©là ¨ve à   obtenir de linformation et lincite à   trouver ses rà ©ponses sans toujours passer par lenseignante. Le projet †¢ Suscite la motivation de là ©là ¨ve par le sens concret de ses apprentissages; †¢ favorise le dà ©veloppement des stratà ©gies cognitives et mà ©tacognitives. Le questionnement oral †¢ Lors des prà ©sentations, le questionnement oral  « ouvert  » permet aux à ©là ¨ves dà ©montrant un style dapprentissage verbal de clarifier leur prà ©sentation. Il est nà ©cessaire et important que lenseignant prenne en considà ©ration les attentes du programme-cadre, lannà ©e dà ©tude en cours et les besoins de ses à ©là ¨ves en difficultà ©. Ces trois facteurs vont lamener à   faire un bon choix pour les options qui correspondent le mieux aux besoins des à ©là ¨ves en difficultà ©. I-3 Rà ©capitulatif du projet Intentions pà ©dagogiques * En apprendre plus sur les objets dart des pays de lAfrique francophone * Faire une recherche et travailler avec les Tics. Production finale * Crà ©ation dun masque africain et prà ©sentation de son chef- dÅ“uvre. Discipline principale * Éducation artistique Disciplines secondaires * Franà §ais et Études sociales Technologies utilisà ©es * Ordinateur et logiciel de traitement de texte Premià ¨re leà §on: voyage vers lart africain Deuxià ¨me leà §on: mon masque à   moi Lobjectif de cette leà §on est damener les à ©là ¨ves à   rà ©aliser une affiche en utilisant internet comme seule socle de recherche. Rà ©alisation dune affiche descriptive dun objet dart (masque). Organisation physique Matà ©riel requis Actività © 1: Prà ©paration du voyage * Une carte dAfrique * Copies du questionnaire * Crayons de plomb * Corbeil des enveloppes[1] Actività © 2: Laffiche * Ordinateur muni dinternet * Imprimante * Logiciel de traitement de texte Dispositif pà ©dagogique Pour lactività ©1, les à ©là ¨ves sont assis à   leur pupitre et le travail se fait individuellement. Pour lactività ©2, les à ©là ¨ves sont dans la salle informatique et le travail se fait en dyade. Actività © damorce Rà ©alisation Actività © 1 (30 min) Élà ©ment dà ©clencheur (5min) Lenseignant devra: * prà ©senter aux à ©là ¨ves lobjectif du projet * Puis leur montrer la vidà ©o[2] sur lart africain. Connaissances antà ©rieures (25 min) Pour la và ©rification des connaissances antà ©rieuresdes à ©là ¨ves au sujet de lAfrique, lenseignant devra: * Distribuer le questionnaire (annexe 2) aux à ©là ¨ves; * prà ©ciser que cest un travail à   faire individuellement; * rà ©pondre aux questions à   laide de son crayon de plomb aprà ¨s avoir pris soin de marquer son nom sur la feuille de travail; * prà ©voir 15 min pour rà ©pondre au questionnaire; * prendre 10 min pour apporter à ©là ©ments de rà ©ponses aux questions. La correction est collective. * former ensuite des groupes de deux; * expliquer que dans lenveloppe se trouve le nom du pays de leur prochaine actività ©. * inviter un membre de chaque groupe à   choisir une enveloppe. Actività © principale Actività © 2 (45 min) Afin de produire une belle affiche, les à ©là ¨ves pour cette actività © vont travailler avec loutil informatique. Ils vont utiliser internet pour trouver des informations pertinentes et intà ©ressantes pour leur affiche. Cette actività © se passe en salle informatique. Le travail se fait en dyade. Lenseignant devra: * demander aux à ©là ¨ves de se rendre en salle des ordinateurs. * remettre la fiche des instructions du travail à   faire (Annexe 3) * inviter les à ©là ¨ves à   consulter le modà ¨le de la production attendue au babillard de là ©ducation artistique de la classe (Annexe 4) si nà ©cessaire. pendant que les à ©là ¨ves travaillent, lenseignant circule dans la salle et contrà ´le là ©volution de leur travail. Il vient en aide à   ceux qui sont dans le besoin ou qui à ©prouvent des difficultà ©s. A la fin de la pà ©riode, les à ©là ¨ves qui nauront pas fini auront une dizaine de minutes en plus pour complà ©ter leur travail. Objectivation Lenseignant aprà ¨s avoir invità © les à ©là ¨ves à   regagner la salle de classe devra chercher à   savoir: * Comment ils ont trouvà © la leà §on, * Les difficultà ©s rencontrà ©es, * Ce quils ont aimà ©. II-2 Deuxià ¨me leà §on Mon masque à   moi (75 min) Planification Titre de la leà §on: Durà ©e de la leà §on: Objectif de la leà §on: Mon masque à   moi 75 min Lobjectif est de dà ©velopper chez les à ©là ¨ves les habiletà ©s motrices et faire la reproduction dun objet dart en lien avec celui de leur affiche. Matà ©riel requis Actività © 3: reproduction du masque * Carton mousse de dimension 29,7x 42 ou format A3 * Des bà ¢tons de pate à   modeler de diffà ©rentes couleurs * Spatules pour pate à   modeler * Rouleaux à   pà ¢tisserie * Assiettes en carton Actività © 4: exposition artistique * Les masques, * Les affiches, * Les feuilles dapprà ©ciation Technique: Regroupement Modelage Actività © 3: travail individuel Actività © 4: travail en dyade (groupe de lactività © 2) Dispositif organisationnel Actività © 3: Dans la salle des arts car les à ©là ¨ves ont besoin despace Actività © 4: salle de classe Miseensituation Rà ©alisation Lenseignant rà ©sume les actività ©s faites par les à ©là ¨ves dans la premià ¨re leà §on. Il dit aux à ©là ¨ves que la premià ¨re leà §on a aiguisà © leurs connaissances sur lAfrique et les a amenà © vers la confection dune affiche reprà ©sentant une Å“uvre dart descriptive. Ils ont compris que les Africains sont de faà §on gà ©nà ©rale de parfaits artisans car ils redonnent vie aux masques et crà ©ent des là ©gendes. expà ©rimentation Actività © 3 Cette actività © consiste à   la reproduction du masque que les à ©là ¨ves ont eu à   choisir pour leur affiche. Lenseignant aprà ¨s avoir pris soin de laminer les affiches des à ©là ¨ves va leur remettre leur copie afin quils puissent travailler en observant le masque quils ont eux mà ªme choisi. Lenseignant devrales directives suivantes: * Les crità ¨res de la production à   savoir: faire ressortir au moins deux à ©là ©ments soient les yeux, le nez, la bouche, les oreilles, par la technique du modelage * Seul lusage de la pate à   modeler et le matà ©riel fourni (rouleau pour aplatir la pate, spatule pour le dà ©coupage, lassiette en carton pour donner la forme du visage) est permis; * Le masque devra à ªtre prà ©sentà © sur le carton mousse fourni. * La dà ©coration du masque est une touche personnelle cest-à  - dire facultative. Il informe les à ©là ¨ves que cette actività © dure une pà ©riode de 40 min et quaprà ¨s ils devront faire une prà ©sentation de leur affiche et de leur masque en salle de classe. Actività © 4 Cette actività © est tout simplement la prà ©sentation des chefs-dÅ“uvre. Les à ©là ¨ves retournent en salle de classe avec leur travail. * Les masques sont exposà ©s dans la classe. * Lenseignant distribue les feuilles dapprà ©ciation aux à ©là ¨ves, * Il demande aux à ©là ¨ves de dà ©terminer sur la feuille dapprà ©ciation (annexe 6) * Les informe que le masque le plus aimà © sera remis à   la direction de là ©cole et sera exposà © dans une vitrine de là ©cole. Objectivation Les masques vont faire lobjet dune exposition dans la classe. Les à ©là ¨ves pourraient identifier sur la feuille dapprà ©ciation le masque quils ont aimà © et le plus drà ´le. Ils expliqueront leur choix en quelques lignes. Sur la mà ªme feuille, ils pourraient aussi faire un retour sur leur propre masque et dire si oui ou non ils ont aimà © lexpà ©rience. III. Intà ©gration des apprentissages Afin de faciliter le transfert des acquis et faire un lien avec la tà ¢che principale, lenseignant devra faire un rà ©capitulatif une fois le projet terminà ©. Vos travaux sont excellents, je suis trà ¨s fier de votre travail. Les efforts de chacun dentre vous sont visibles et rà ©compensà ©s par le rà ©sultat de son travail final. Quen pensez-vous? Êtes-vous fiers de votre Å“uvre? Quest ce qui a à ©tà © le plus facile pour vous? Quest-ce qui a à ©tà © plus difficile à   accomplir? Quelle actività © avez-vous le plus aimà ©? Quavez-vous appris en gà ©nà ©ral du projet? Pensez-vous qu partir de vos chefs-dÅ“uvre vous pourriez entreprendre le mà ªme genre dactività © en lien avec un autre domaine? La danse par exemple? Conclusion Là ©ducation artistique aide les à ©là ¨ves à   acquà ©rir des habilità ©s dans la vie sociale. Cest une discipline qui incite à   la crà ©atività © et à   la diversification. Elle favorise aussi la prà ©servation de la culture et des traditions. Par là ©tude des arts, il peut arriver que les à ©là ¨ves amà ©liorent leurs aptitudes et leur comprà ©hension du monde qui les entoure. Le scà ©nario dapprentissage que vous venez de lire invite les à ©là ¨ves à   sassumer entant que artiste-chercheur. Ils ont eu loccasion de faire une recherche sur internet et de pouvoir choisir un objet dart quils ont apprà ©cià © à   sa juste valeur en produisant une description de ce dernier. Ce scà ©nario est de type intà ©grà © et complet, à   savoir quil rassemble des approches et stratà ©gies denseignement qui vont dune part faciliter une adaptation pour les à ©là ¨ves prà ©sentant difficultà ©s et dautre part, permettre la rà ©ussite des à ©là ¨ves de la classe. Nous avons joint lutile à   lagrà ©able en fusionnant les à ©tudes sociales, les à ©tudes artistiques et le franà §ais tout en respectant les objectifs des attentes du programme-cadre des à ©tudes artistiques du curriculum de lOntario avec des actività ©s vivantes et passionnantes. Cest un scà ©nario trà ¨s motivant car lenfant est au centre de lapprentissage ce qui lui donne confiance, le motive, lui permet dacquà ©rir des connaissances grà ¢ce aux diffà ©rentes actività ©s prà ©sentà ©es, laide à   voir ses progrà ¨s, et le guide vers une à ©valuation positive. Questionnaire sur la prà ©paration du voyage virtuel 1. De quel continent les noirs sont ils originaires? 2. Nomme trois pays de ce continent: 3. Choisis trois pays francophones sur cette liste: Cameroun, Gabon, Nigà ©ria, Afrique du sud, Cà ´te divoire, Algà ©rie, Maroc. 4. De la mà ªme liste, choisis deux pays francophones dAfrique noire: 5. LAfrique a t- elle une capitale? Si oui nomme la; et si non pourquoi? 6. Nomme une personne noire cà ©là ¨bre et sa profession Travail à   faire 1- Aller sur le site: www.artisanat-africain.com 2- Cliquer sur longlet  «masques africains » 3- Choisir le masque correspondant au pays de recherche 4- Pour laffiche:  · Nom du masque  · Image sur masque  · Petite description du masque choisi NB: un exemple de la production attendue est affichà © au babillard pour à ©ducation artistique en salle de classe. Annexe 6 Feuille dapprà ©ciation [1] Dans chaque enveloppe se trouve une carte ayant le nom dun pays dAfrique francophone. [2] Vidà ©o disponible en ligne sur http://www.youtube.com/watch?v=TZdGIl39pwMfeature=related

Comparing Rich Citizens of New York in the 1920s: Attitudes on Philanthropy :: American America History

Comparing Rich Citizens of New York in the 1920's: Attitudes on Philanthropy How did the rich of Hudson Valley and Harlem New York differ in behavior patterns and personal attitudes towards home ownership during 1920 to 1925? Even with the distinction of race between Hudson valley rich and Harlem rich are the two groups in anyway similar? The rich of Hudson Valley did not feel the need nor the obligation to be philanthropical towards their under class counterparts. They were desensitized towards the needs of the poor and unfortunates of society. The Harlem rich however, felt a moral and spiritual obligation to help those less fortunate then themselves to become more prosperous so that they could aspire to the joys of home ownership. Only if they felt the individuals were worthy of their help. What were the Hudson Valley rich like? They were made up of two classes of people the Robber Barons and the Mayflower rich. In "The Rich and The Super - Rich" Ferdinand Lundberg writes that the Robber Barons gained their wealth thought crime. He writes "Crime: The Highroad to Wealth. Either sound instinct or certain knowledge led Kefauver, Kennedy, Vanderbilt and J.P. Morgan to link notorious under world figures with the business world. For crime is a historically established highroad to American fortune building. If earlier men came into the upper propertied class by means of violent crime, it would seem that later criminal practitioners might be heading toward the same dubious salvation. So assiduously and unscrupulously did the earlier fortune-builders work that one might suppose they believed that in attaining wealth they were attaining eternal life." The Mayflower rich considered themselves the true Americans since their families history could be traced all the way back the firs t Dutch settlers who settled in the Hudson Valley area. They did not accept the Robber Barons with open arms until their fortunes over powered the Mayflower rich in comparison. F. Scott Fitzgerald once wrote "Let me tell you about the very rich. They are different from you and me. They possess and enjoy early, and it does something to them, makes them soft where we are hard, and cynical where we are trustful, in a way that, unless you were born rich, it is difficult to understand. They think, deep in their hearts, that they are better than we are because we had to discover the compensations and refuges of life for ourselves.

The Price of Perfection in Brave New World :: Brave New World Essays

The Price of Perfection in Brave New World Aldous Huxley's Brave New World presents a portrait of a society which is superficially a perfect world. At first inspection, it seems perfect in many ways: it is carefree, problem free and depression free. All aspects of the population are controlled: number, social class, and intellectual ability are all carefully regulated. Even history is controlled and rewritten to meet the needs of the party. Stability must be maintained at all costs. In the new world which Huxley creates, if there is even a hint of anger, the wonder drug Soma is prescribed to remedy the problem. A colleague, noticing your depression, would chime in with the chant, "one cubic centimetre of soma cures ten gloomy." This slogan is taught to everyone, from the youngest to the oldest. Unhappiness, intellectual curiosity, disagreement, suffering - none of these feelings is allowed in the world which Huxley creates. At the first sign of unhappiness, Soma is prescribed. Emotions of all types are strictly controlled to provide stability and predictability within the population. Another of the panaceas for social ills is the belief that everyone would enjoy his or her work because he or she was "made" or trained for it when young. Consequently, from birth, everyone in Brave New World is slotted to belong to a specific social and intellectual strata. In conjunction with this idea, all births are completely planned and monitored. There are different classes of people with different intelligence and different "career plans." The social order was divided into the most highly educated, the Alpha+, and then in descending intelligence, the following divisions: Alpha, Beta, Beta -, Gamma, Delta, and Epsilon, which is the last group comprised of those citizens of the lowest intelligence who are necessary to perform society's most menial jobs. Another of the problems with the society which Huxley depicts is that the people do not have individuality. They are all conditioned by subliminal messages and artificial stimuli to respond the same way. Although all people are meant to respond identically without thinking, a few are made 'imperfectly' and, as a result, do have personalities. These people violate the principles of technology and artificial personalities and consequently have to be sent away so as not to "contaminate" others. To maintain order in Brave New World, the Resident Controller must have complete authority over more than just the present; he must also have influence over the past. In order to be able to achieve this, he must be able to rewrite history. This gives rise to one of the

Decriminalization and Legalizing Marijuana in America Essay -- Illicit

Marijuana prohibition in the American criminal laws is quite exceptional. There are no other laws that are both enforced so widely and severely across the country, but yet considered unnecessary by such an overwhelming portion of the country’s populace. According to the National Institute on Drug Abuse, â€Å"Marijuana is the most commonly abused illicit drug in the United States.† The advocacy group National Organization for the Reform of Marijuana Laws claims that marijuana is the third-most popular recreational drug in America, behind only alcohol and tobacco. In the early 1900’s, marijuana was viewed by prohibitionists to be the worst narcotic known to man and the effects of use created insanity, murder, and death. And without any public debate, scientific inquiries, or political objection the Marijuana Tax Act was signed by then President Roosevelt in 1937. But after numerous years of research, scientists have proven repeatedly that marijuana is not the same as the harsher drugs such as heroin and cocaine and should not be classified as a dangerous, evil, killer narcotic. The Institute of Medicine and other bodies of research have concluded that there is no evidence supporting marijuana is a â€Å"gate-way† drug, certainly no more than either tobacco or alcohol is. Although, some people use marijuana in excess, most who smoke marijuana never become dependent. No one has ever died from an overdose of marijuana, unlike alcohol, and marijuana has not been associated with violent behavior either. People who have used marijuana describe the effects of the drug to be calming, enhancing their creativeness, increasing their appetite and making them sleepy. Dr. Daniele Piomelli at the University of California, Irvine is at the forefront ... ... the use and possession of marijuana has been ever-increasing over the past several years, rising to over 50% today – that is an all time record high. If the current trend continues, the pressure will definitely encourage the nation’s laws into compliance with the people’s desires. Works Cited (1) Drum, Kevin. â€Å"The Patriot’s Guide to Legalization.† Mother Jones Vol. 34, No. 4 31 Jul 2009: pg. 49. SIRS issues Researcher. Web. 27 Oct 2011. (2) Nadleman and Piper. â€Å"Should the U.S. Decriminalize Marijuana?† The Washington Times. Sunday read. 26 April 2009. LexisNexis News. Researcher. Web 27 Oct 2011 (3) Newport, Frank. â€Å"Record –High 50% of Americans Favor Legalizing Marijuana Use.† Princeton, NJ. 17 Oct 2011: pg. 1-3. Gallup. Researcher. Web. 27 Oct 2011 (4) NGC. â€Å"Drugged: High on Marijuana.† Documentary 2011 Vesta, Solomon. â€Å"Grass.† Documentary 1999.

Parallels between Scottsboro and Maycomb Essay

To Kill a Mockingbird, a classic novel written by Harper Lee, is focused on racism that takes place in Maycomb, Alabama during the 1930s, where African Americans were segregated by white men. Harper Lee said that the Scottsboro trial, which was a trial that started because of discrimination, inspired her on writing To Kill a Mockingbird. Despite the differences between the Scottsboro Boys and To Kill a Mockingbird, both of them had an impact on the racial implications and laws of the south. The Scottsboro Trials was a sad tragedy that took place in Alabama during the 1930s. While nine black youth, ages from 13 to 21, were on a train heading to Memphis, Tennessee to find a job, a fight between the nine black youths and a group of white men started. After the white men were kicked out of the train, they reported what had happened to a stationmaster, and the station master stopped the train at a town called Paint Rock. After the train stopped, a group of policed jumped on the train and arrested the nine black youths. When they are caught on the train, two white women, dressed in men’s clothes, were found hiding on the train. Then the two white women accused the nine black youths raping them without any evidence. Because raping in 1930s in the Deep South was a big crime, so many trials started. At the end, every one of the Scottsboro Boys were sentenced to death except for the youngest one, Roy Wright, who was 13 years old. The reason why the jurors did not sentence him to death is because of his age. Although he was not sentenced to death, he was still sentenced for spending his life time in jail (The Scottsboro Case (1931)) (Lanset). Maycomb, Alabama is the main setting that the book, To Kill a Mockingbird, took place. Maycomb and the Scottsboro Trials are similar because they both relate to the discrimination between African Americans and white men. It was Tom Robinson, who was accused of rape by a white woman, just as the Scottsboro Boys was, and he was sentenced guilty by all-white juries even though he did nothing wrong. Although he wasn’t sentenced to death, he was still killed by jail guards who shot seventeen bullets at him just because he tried to escape. To Kill a Mockingbird and the Scottsboro Boys are similar because Harper Lee based her story on the Scottsboro Trials. The first case took place during April 1931, and it was taken to the juries around three pm. For less than two hours, the juries announced the verdict, death penalty; after the crows outside heard it, they yelled of approval. Also, the juries also warned people who were in the courthouse that there must be no demonstration staged after the verdict, so the people in the courtroom just applauded, while people outside cheered wildly. The second trial that was held on April 8th, for eighteen-year-old Haywood Patterson. Then the jury announced a verdict of death penalty within three hours. The third case was tried with five boys; Olin Montgomery, who was seventeen and nearly blind, Andy Wright (18 years old), Eugene Williams (17 years old), Willie Robeson (17 years old), and Ozie Powell, who was 16 years old. During this trial, Willie RObeson was suffering from a bad venereal disease, so it was pretty much impossible to rape somebody with that disease. However, the case went to the jury at four pm, and next morning, the verdict was still a death penalty. During the trials, Governor Benjamin Miller even sent the Alabama National Guard to Scottsboro to prevent a death sentence, but at the end, eight of the Scottsboro Boys were still sentenced to death, except for the youngest one, Roy Wright. Although Roy Wright wasn’t sentenced to death, he was still sentenced to be in jail for his whole life (Linder) (Salter). All the trials of Scottsboro started pretty much because of discrimination. On June 22, 1933, Jude James Horton was convinced that Victoria Price was lying because all her stories were inconsistent; also, she had no witnesses and medical evidences for her claims too. Another person, Dr. Lynch, who asked to talk to Horton privately, said that the girls were lying too. As a result, Judge Horton took his verdict of death penalty back, and announced that there will be a new trial. Attorney General Knight also promised that there would be evidences for Victoria Price’s rape story; Orville Gilley, a white boy on the train agreed to testify for the prosecution. William Callahan, a judge whose age is about 75, was going to participate in Haywood Patterson’s next trial on November 1933. During the trial, Judge Callahan cut off all the questions about Victoria Price’s chastity, character, and reputation. Also, when Leibowtiz queried Price about her probability of having sex with someone other than a Scottsboro Boy, Judge Callahan stopped him. He did these because he wanted to debunk this event off the American’s newspaper. Similarly to the Scottsboro trials, Tom Robinson’s trial in To Kill a Mockingbird also started because of discrimination. Mayella wanted to protect her dad, so she accused Tom, an African American, of raping her. She accused a black guy because she knew that in a fight, white men always win (Linder). The Scottsboro Trials incident had impacted the community’s racial climate and the ideologies during the 1930s. Firstly, it had forced the country to look back to their racial practices although white men disliked black men. Secondly, the African Americans changed from republicans to democratic community. Thirdly, the Scottsboro Trials made black men realize how badly the white men were treating them. For example, racial practices and how they were looked upon by law. Lastly, it also changed the way the legal system of the United States is viewed. Because of the Scottsboro Boys, the African Americans learned to fight for their rights†¦ (Ross) (Scottsboro Boys Hist2081) The discrimination between African Americans and white men was the reason why the Scottsboro Trials and the trial in To Kill a Mocking happened. Although black men lost in their trials, they later realize their power, and started to fight for their rights. The Scottsboro Trial is an event that impacted the whole world, especially America, making them realize several things they had done wrong, and to never repeat it again.

Instructional strategies & approaches 2 Essay

According to Barbara Gross Davis, author of Tools for Teaching (1993), students learn best when they participate actively in the process. A lot of research has been made on collaborative learning, or learning in groups, and it has been proven that no matter the subject matter, students learn more this way. Working in groups help students learn and retain more about what is taught to them than when they are taught using other means. Davis enumerates three general types of group work. The first type is informal learning groups. These groups aren’t permanent and may be done in a single session. An example of this is asking the students to turn to their seatmate and discuss a particular question. In any case, this kind of grouping may be done in a class of any size at any time to check the level of understanding of the students, give them a way to apply what they have learned or to have a change in the learning pace. The second type is formal learning groups, which can be organized to do specific tasks like writing a report, doing a lab experiment or making a project. The tasks can be completed in one session or over a few weeks, until the students have finished the activity and are given a grade. The last type of group is a study team. Such groups are usually long-term, like a whole semester or course, and have permament members wherein each member is responsible for helping each other to complete course requirements and assignments and to provide support and encouragement. A student with a study team can ask his teammates to update him on classes or activities he might have missed. Study teams are valuable in courses that have a large class size and a complex topic. With that in mind, it is then appropriate to inquire as to how to group these students so that they would learn the most. Davis cites examples on how one could group the students: the teacher can assign randomly so that a mix of different students are in one group; the teacher can let the students choose their groupmates; the teacher, himself, forms the groups taking into account the students’ differences; or the teacher asks the students first on their preferences and then makes assignments. Whichever the case, Davis argues that these types of grouping have their own advantages and disadvantages and can be used depending on circumstance. After all, the teacher cannot assume that just because the students have been grouped and asked to work cooperatively, that they would actually do so. It should always be remembered that a group is composed of different individuals with different personalities, skills, concerns, temperament, etc. Thus, the teacher should be flexible, yet firm, and always ready to give assistance. In addition to considering the combination of students in a group, its size should also be given equal attention. According to researches done by Cooper (1990), Johnson, Johnson, and Smith (1991) and Smith (1986) as cited by Davis, groups with a maximum of five members would work best since a larger number would decrease the opportunity for the group members to actively participate. They also add that the group size should be smaller if the members are less skillful and time available for the group work is shorter. Furthermore, the level of the task should also be considered. Simple tasks like solving a math problem or planting a seedling would be enough for small groups. On the other hand, complex tasks, such as a chemistry experiment that would require students to research and report, are better done by a bigger group (Knowles, 2005). Of course, students are individuals that have different learning abilities. Some teacher group the class according to these abilities. According to the Westchester Institute for Human Services Research (2002), ability grouping is the practice of dividing students according to their perceived learning capacities. The two most common ways of grouping via ability is within-in class grouping and between-class grouping. The former refers to the division of students with the same abilities into small groups. This is usually seen in Math or Reading classes. Between-class grouping refers to division of students into varying courses or classes according to their achievement. In a nutshell, ability grouping caters to the difference between students. Each group formed with this strategy may be using different materials that are unique and will address their needs. In general, research shows that within-class grouping produces better results than mixed ability grouping. Within-class grouping can promote faster learning since the students are learning with people of the same level and pace. Thus, fast learners can cover more topics without being dragged by the slow learners. On the other hand, as learning progresses it is only appropriate that the task difficulty also increase, and in line with that, the group composition and number. A more difficult task would require a larger group to execute successfully. Thus, if a class was previously divided into smaller groups, the teacher can merge these groups to form a larger group. In relation with this, the teacher should again consider the composition of the groups. Ideally, it is better that the group be as heterogenous as possible but should also contain a fair number of the assets, those with previous relevant coursework or language proficient, and liabilities, those with negative attitudes toward the course or language problems, in a class. Whole group instruction is usually used when introducing a new topic, new materials or new strategies to the whole class. In this way, the teacher can build a common experience between the students which can later be an avenue for further exploration of the topic and improvement in their problem solving and other skills (Valentino, 2000). On the other hand, group or collaborative learning cannot always be used despite its good results. Since topics have to be discussed within a certain timeframe, it is very hard to use collaborative learning often since such strategy really takes a lot of time. Thus, for courses that covers a broad, complex topic, like general chemistry or physics, it is advisable to make the students form a study team. For example, in chemistry, experiments may be done by a whole group. They can perform one experiment and help each other analyze their data and understand what they just did. In such a setting, not only will it minimize the concerns of the teacher, it would also help those students who come to class unprepared. At least, with group mates, there would still be an avenue for them to cope with the lesson. Also, Also, collaborative learning would be beneficial if the class size is large. As mentioned earlier, a heterogenous group is ideal. A teacher would want to distribute those who’ve already understood the topic or are fast learners among those that are still coping or having some difficulty. What the teacher can do, then, is determine the students that could be classified among the two groups. Generally, the teacher can determine the ‘assets’ and ‘liabilities’ by observation, diagnostic tests or group dynamics activity or by asking other teachers and his students. Such a technique would ensure that someone in the group knows what’s happening in class and possibly give assistance to his groupmates. In conclusion, group or collaborative learning is very beneficial to students. However, the success of such activities would depend on the composition and size of the group, as well as the level of learning of the students. The teacher should know when to use this strategy and he should be well prepared, organized and flexible when doing so. References Davis, BG. (1993). Collaborative Learning: Group Work and Study Team. Tools for Teaching.Retrieved August 16, 2007, from http://teaching. berkeley. edu/bgd/collaborative. html Knowles, P. (2005). Thoughts on Student Grouping: Teaching Decisions. Retrieved August 16, 2007, from http://www. netc. org/classrooms@work/classrooms/peter/working/grouping. html Valentino, C. (2000). Flexible Grouping. Retrieved August 31, 2007, from http://www. eduplace. com/science/profdev/articles/valentino. html Westchester Institute for Human Services Research (2002). Ability Grouping. The Balanced View: Research-based information on timely topics. Vol. 6, No. 2.