Explain Vince Rizzo's search for identity in the movie City Island Essay

Clarify Vince Rizzo's quest for personality in the film City Island - Essay Example This paper will reveal insight upon Vince’s look for personality in the film; light will likewise be tossed upon how he fathered a kid in his high school, who returns his life and how things progress from that point. Vince is a local of the island, he is awkward with individuals who come to remain there and realize undesirable changes, and the initial scene of his voiceover presents the equivalent exhaustively. Vince isn't happy with his activity, he is a jail gatekeeper, and his aspiration of turning into an entertainer is maybe the most significant thing in the film. He deceives his better half and moves to Manhattan to seek after a vocation as an entertainer. There are a great deal of mistaken assumptions in the film, Vince’s spouse imagines that her significant other is after some fancy woman who he has been seeking after for a long while, Vince’s desire and a few false impressions make this film exceptionally captivating. Vince has a few issues which he is t otally uninformed of, his girl strips at a club so as to pay her school charges; he meets his progression child who he fathered with only one parent present. Vince’s child is dependent on pornography on web and needs to satisfy his dreams with a young lady dwelling in the area; these are a portion of the numerous issues which Vince was confronting. The presentation of Tony, Vince’s step-child acquires a colossal bend the film.

Business scenario Analysis 06012 Essay Example | Topics and Well Written Essays - 1250 words

Business situation Analysis 06012 - Essay Example The eatery was confronting bunches of issues in the various pieces of business. In this manner, this report has created a lot of suggestions for improving the falling apart state of the eatery. The accomplishment of the café business is broadly subject to the various variables. The job of food and administration quality, condition of the eatery, and the value decency discernment positively affects the consumer loyalty and trust. Components recognized in various exploration give complete survey of the elements that are not doing great in Fabrizio’s eatery; thus, bringing about declining benefits. Hence, the prescribed activities should have been performed for taking care of the main issue close by. The principal issue they were confronting was connected to the menu they serve to their clients. The menu is been the equivalent since the time it begins tasks from the start place. This menu incorporates renowned English breakfast and some Italian cooking styles. This menu was extremely mainstream for the voyagers in past just as local people. In any case, guests have changed their inclinations and going to different eateries. Particularly, those contribution different country’s cooking or conventional Italian food. From the start place, Fabrizio’s must start the way toward remembering some worldwide foods for the menu of their eatery. The job of food development for winning clients and guaranteeing edge that isn't imitable is one of the significant ways. Likewise with the adjustment in time, the flavors of the vacationers begin to change. The vacationers are requesting increasingly conventional Italian and universal foods to be added to the menu of the café alongside the past menu things. In this way, change in the offered tastes and inclinations are significant. The advancement can be occasional, for example, season in which vacationer from certain nation are higher in number than development will follow the taste inclinations of that nation. Additionally, conventional Italian will

Cultural Counseling and Latino Population Essay

An advocate must see how one’s own social contrasts and perspectives sway the directing relationship. This paper will inspect how I am socially unique in relation to my customer and how I would exhibit social capability. Besides, I will portray how I can improve my social capability with the customer. Customers Background Information My customer, Alberto, is a 47-year-old Mexican American who has been hitched to his significant other, Angela, for a long time and has four kids. Alberto lost his employment and their reserve funds is restricted. Angela wants to work to help accommodate the family. Alberto won't permit his significant other to work. Both look for guiding, principally on the grounds that their cleric has prescribed them to do as such. Alberto shows protection from advising on the grounds that he trusts it is an exercise in futility. Social Differences Instructors should be aware of how their own perspectives, inclinations, and partialities sway the advising relationship. By inspecting the Latino culture and contrasting it with my own empowers me to know about the distinctions and keep me from judging and impacting my social perspectives on my customers. I would be deferential to their perspectives and consolidate their qualities in the guiding procedure. Latino Cultural Worldviews. Alberto’s attributes intensely reflect customary Latino family esteems. The Latino family structure culture is fundamentally hierarchal, with the dad the head and principle supplier of the family with machismo qualities, for example, being prevailing and solid (Sue and Sue, 2013). The mother takes on a greater amount of the parental figure job, or marianismo attributes, and spotlights on bringing up the youngsters (Sue and Sue, 2013). The conventional Latino spouse/father anticipates regard and submission from all the relatives. Counselor’s Cultural Worldviews. I experienced childhood in a multiracial group of four. Both my folks buckled down, with my mom being the ‘bread winner’ of the family. This is an abnormal trademark in a military family in light of the fact that regularly the moms remain at home since steady moving around the nation confounds a woman’s vocation improvement. It is likewise irregular in both the Italian culture and Korean culture for the lady to be the fundamental supplier in the family. Both my folks acculturated in their own specific manners before wedding, and influenced from customary estimations of their bloodlines. Everybody in the family had a contributing job; regardless of whether it was monetarily or aiding around the home, everybody shared obligation. My folks energized my sister and I to try sincerely and make progress toward our fantasies whatever it was they bolstered us. There were no given jobs in our family. Or maybe, our family culture conveyed a majority rules system air where we as a whole worked and settled on choices together. Social Differences. The principle social distinction is our family frameworks and the sexual orientation job desires for father and mother. In the customary Latino culture, the man directs the family unit. Though in my family, jobs are more diligently to characterize since my dad and mom shared money related and family unit duty. Showing Cultural Competence Latinos periodically can't help contradicting sexual orientation jobs. This is the situation for Alberto and Angela. Alberto’s joblessness is causing strain for the family as far as monetary weight and passionate misery. Testing the dad, or machismo, contradicted their conventional qualities. Avila and Avila (1995) and Constantine, Gloria and Baron (2006), noticed that conventional Latino men battle with sex job strife while encountering: (1) absence of trust in territories of power, (2) sentiments of disconnection and wretchedness as a result of the should be solid, and (3) clashes over the should be predictable in his job (as refered to in Sue and Sue, 2013, p.413). Alberto’s receptiveness to look for advising is constrained. In the Latino culture, guiding can be seen as frail (Sue and Sue, 2013). Seeing as Angela needs to work to help bring in cash for the family, clashing perspectives about jobs and desires has surfaced between the couple. Angela’s struggle s pins around satisfying the conventional Latina desires; implying that she is basically a homemaker. Additionally, Angela’s suppositions and voice is disheartened by her Alberto in the guiding meeting. This shows what number of conventional Latinas are second rate in the marriage (Sue and Sue, 2013). Andres-Hyman, Ortiz, Anez, Paris, and Davidson (2006), exhorted that instructor must gander at the client’s level of dedication to conventional sex customs (as refered to in Sue and Sue, 2013, pp.413-414). As Alberto and Angela’s guide I would investigate their jobs inside their family and dive into how these jobs might be changing and affecting the family. Likewise, I would address Alberto’s uneasiness levels. Besides, I would help Angela consider the change associated with accepting another job in the family. By tending to these issues in the couple’s social system, I would want to achieve an understanding and conceivable trade off. Improving Cultural Competence with the Latino Population Originating from an equivalent relationship conviction, I am tested not to support Angela’s want to work and contribute monetarily. My point of view conflicts with the customary Latino sex job desires. I should advise myself that my convictions are not general and not best for everybody. One approach to improve my social fitness is to regard the conventional Latino perspective. Since Alberto is a conventional man, I would regard his estimations of power and meeting him quickly to exhibit regard (Sue and Sue, 2013). Additionally, I comprehend that in a less acculturated family that I need be progressively formal and less easygoing. Reflection Social capable practices are fundamental in the advising calling. Building up a comprehension and regard for individuals with varying perspectives and societies advances the directing relationship. Rehearsing inside the client’s social structure is fundamental. Understanding one’s own way of life and being careful how it varies from others is essential. Recognizing the social contrasts permits the instructor to be careful and outline from forcing one’s own convictions onto the customer. References Sue, D. W., and Sue, D. (2013). Advising the socially differing: Theory and practice (sixth ed.). Hoboken, NJ: John Wiley and Sons.

Book Review The Communist Manifesto Sociology Essay

Book Review The Communist Manifesto Sociology Essay The Communist Manifesto was composed by Karl Marx and Friedrich Engels in 1848. Regardless of whether the distribution was wanted to match with the principal insurgencies in France we can just gather. Anyway what we can be sure of is that both Marx and Engels were authorized to aggregate the Communist Party Manifesto at the Second Congress of the Communist League which met among November and December 1847. The Manifesto is part into four areas however the general point of the book is an endeavor to clarify the philosophies and objectives of the Communist party. Marx and Engels contend that it is the historical backdrop of class strugglesâ [1]â that are the main thrust of history. Marx asserts that connections between classes are dependant upon that periods channel of creation. He additionally contends that once these connections are not, at this point appropriate an unrest occurs and another decision class take power. This is Marxs clarification for the move from feudalism to free enterprise on account of the bourgeoisie (working classes). This is likewise how Marx sees the movement from private enterprise to communism and from communism to socialism. Marx and Engels accept that Communism is inescapable, that in the long run the low class (regular workers) will hold onto power directly from the hands of the bourgeoisie. The primary area of the proclamation depends on the Communists hypotheses of history and of the connection between the average and the low class in an entrepreneur society. Marx illuminates the peruser regarding class battles that have commanded history, how classes are either oppressor or abused. Marx expresses that because of the move from the confused medieval framework to the entrepreneur framework threats between classes have rearranged to where there are no lone two classes in direct resistance; the bourgeoisie and the low class. The declaration pinpoints the way that in light of the requests of society and the ascent of current industry the cutting edge middle class have turned into the decision class by getting rid of the old medieval framework and permitting individuals to turn out to be progressively self-intrigued. In spite of this new personal circumstance Marx contends that the cutting edge middle class has discarded the conventional family esteems and rather transformed every relative into an item, somebody to go out and acquire a pay. He expresses this new common society has settled individual worth into trade esteem. This new industrialist society, Marx states, leaves exclusive dependant on another in a way they had never been already; it has made a class of workers, who live just inasmuch as they look for some kind of employment, and who look for some kind of employment just insofar as their work expands capital. Therefore we have a general public dependent on creation and request. Anyway this general public won't generally observe the important interest for the items they produce so the individuals who depend on industry to flexibly compensation with the end goal for them to have a rooftop over their heads and food in their guts, are extra, they will be utilized, and have the option to stand to live, just inasmuch as the bourgeoisie need their abilities. Segment two at that point proceeds to talk about the connection between the Communists and the proletarians. Marx is quick to call attention to that the Communists don't see other average workers parties as resistance rather they wish to help these different gatherings in à ¢Ã¢â€š ¬Ã¢ ¦clearly understanding the line of walk, the conditions and a definitive general aftereffects of the ordinary development. Marx tends to the inquiry on the abrogation of property straightforwardly and obviously expresses that it isn't the point of the socialists to cancel all property however to annul private property, that property possessed by the middle class. He calls attention to that property just has a place with one tenth of society as the other nine tenths can't bear the cost of such extravagance as claiming their own properties. After tending to this he additionally guarantees that thus, and numerous other characterizing highlights, Capital, is in this way not an individual, it is a social fo rce. After characterizing the job of the low class in the public eye Marx expresses that the Communist party wish to get rid of the hopeless character㠢â‚ ¬Ã¢ ¦.under which the worker lives simply to expand capital, and is permitted to live just to the extent that the enthusiasm of the decision class requires it. The third segment of the Manifesto plots and assesses the three divisions of Communist compositions. These are; reactionary communism, traditionalist communism and basic idealistic communism and socialism. Marx contends that every one of these divisions fall flat in light of the fact that each of the neglect to acknowledge basic socialist qualities. The reactionaries and the preservationists neglect to observe the way that the bourgeoisie will in the end fall on account of the low class though the utopians neglect to understand that social change is fundamental; there is no ideal reality where socialism is ruler without this change. The fourth and last segment of the statement goes up against the Communist partys sentiments towards the contradicting parties that exist in the public eye. The socialists last and principal point is the ordinary insurgency and they take a stab at this continually and reliably regardless of whether it implies working with other resistance groups so as to accomplish this. Marx and different socialists accept that history experiences phases of social change and that by furnishing the low class in one specific stage (free enterprise) it will guarantee the topple of the bourgeoisie on account of the low class along these lines reigning in another period of communism and in the long run socialism. With everything taken into account The Communist Manifesto is incredibly clear

Strengths And Limitations Of CBT For Social Phobia Psychology Essay

Qualities And Limitations Of CBT For Social Phobia Psychology Essay Social fear, otherwise called Social Anxiety Disorder (SAD) is considered as one of the most well-known mental issue all alone, and furthermore as a comorbid issue (Kessler, McGonagle, Zhao, et al., 1994). Flow examine writing propose Cognitive Behavior Therapy (CBT) as the primary treatment decision for social fear, except if for the situation where the customer choose drug or if the customer is experiencing comorbid gloom or another mental issue that makes medicine fundamental (Veale, 2003; Social Anxiety Disorder, 2006; NICE rule, 2004c). The point of this paper will be to talk about the utilization of CBT in the treatment of Social Phobia. Be that as it may, stress that it won't endeavor a definite conversation on the chronicled advancement, or hypothetical systems of CBT. These parts of treatment will be underlined, examined and broke down where vital, to appreciate its reasonableness in the treatment of social fear. Besides, the extent of this paper will be constrained to analyzing the utilization of CBT for treatment of grown-ups with social fear in any case, it won't center around treatment of social fear in kids and youthful gatherings. CBT was at first evolved by Aaron T. Beck as an organized, present moment, present-situated psychotherapy for gloom, coordinated toward tackling current issues and changing useless reasoning and practices (Beck, 1995). The fundamental suppositions of subjective model recommend that twisted or broken reasoning that impact the patient/customers state of mind and conduct is regular to every mental aggravation (Beck, 1995). CBT is an assortment of treatments that are intended to help customers experiencing fears, sadness, fixations impulses, stress issue, illicit drug habits or potentially character issue. CBT endeavors to assist individuals with recognizing the circumstances that may create their physiological or enthusiastic indications and change the way wherein they adapt to these circumstances (Smith, Nolen-Hoeksema, Fredrickson, Loftus. 2003). The viability of CBT has been generally tried since the main investigation on treatment achievement in 1977 (Beck, 1995). Westbrook, Kennerley and Kirk (2007) expressed that CBT has numerous highlights normal to different treatments. In any case, they recognized that CBT is not quite the same as different psychotherapies with some distinctive qualities. This remedial methodology is a mix of Behavior Therapy (BT) and Cognitive Therapy (CT). Be that as it may, these won't talk about in detail. Be that as it may, because of having been developed from a blend of both BT and CT, present day CBT comprise significant components of them both. Westbrook, et al. (2007) presents the CBT model of survey issue improvement. For example, people create perceptions (considerations convictions) through life encounters (for the most part dependent on youth encounters, however now and again with later encounters). These can be utilitarian (ones that permit understanding the world around and manage life issues), just as broken convictions. More often than not, utilitarian convictions grant people to sensibly adapt well to life circumstances. Though broken convictions may not cause issues except if/until experienced with an occasion or a progression of occasions (otherwise called basic episode) that abuses the center convictions or the suppositions, to the degree of being not able to deal with ones positive/utilitarian convictions. This circumstance may initiate the negative/broken contemplations over the positive considerations coming about or inciting horrendous enthusiastic status, for example, tension or discouragement. Subsequently, Westbrook et al. (2007) featured the associations between negative conside rations, feelings, physical responses, and practices as reactions to various life occasions. These useless examples lock the person into awful cycles or input circles bringing about the propagation of the issue. Focussing on the viability of CBT as a treatment, the UK National Institute for Clinical Excellence (NICE) rule suggests CBT for a few significant emotional well-being issues including sorrow (NICE, 2004a), summed up tension and frenzy (NICE, 2004c), and post-horrible pressure issue (PTSD) (NICE, 2005). Besides, Westbrook et al. (2007) featured the discoveries of Roth and Fonagy (2005) in their book What works for whom? a milestone rundown of psychotherapy adequacy. This book presents proof on the accomplishment of CBT as a treatment for most mental issue. In any case, however there is proof supporting the achievement of CBT for various mental issue, CBT has a few constraints also. Initially, it isn't reasonable for everybody. One ought to be submitted and relentless in finding an answer for the issue and developing oneself with the direction of the advisor (Grazebrook Garland, 2005). Besides, it may not be useful in specific conditions. Grazebrook Garland (2005) referenced that there is expanding proof of the effective remedial utilization of CBT in a wide assortment of mental conditions. Anyway they pointed that there is an extraordinary requirement for additional exploration to assemble proof on the restorative accomplishment of CBT in these various kinds of mental issue. Social Phobia Social Phobia is ordered as an Anxiety Disorder in the Diagnostic and Statistical Manual-IV-TR (DSM-IV-TR) of the American Psychiatric Association (2000). This issue is described by determined extreme uneasiness and dread of investigation by others, frequently joined by tension side effects, for example, tremulousness, becoming flushed, palpitations, and perspiring (Social Anxiety Disorder, 2006). The DSM-IV-TR (2000) presents the accompanying indicative models for social fear (SAD). Stamped and relentless dread of social or execution circumstances in which the individual is presented to new individuals or to saw examination by others. This incorporates the dread of shame or mortification Presentation to dreaded social or execution circumstances that perpetually incite nervousness. This may even appear as a fit of anxiety. On account of kids, the uneasiness might be communicated by crying, fits of rage, freezing, or contracting from social circumstances with new individuals. The individual perceives that the dread is preposterous and that it is inordinate. Be that as it may, this dread and information might be missing in kids. The dreaded social circumstance or the exhibition is dodged or, more than likely it is suffered with extraordinary uneasiness or pain. The shirking, on edge expectation, or dread causes noteworthy pain or debilitated working. Dread or evasion are not because of another mental, or physiological condition (e.g., a character issue, for example, jumpy character issue, a particular fear, or because of the impact of substance use/misuse) Indicate summed up, if the apprehensions incorporate most social circumstances (e.g., these may go from starting or looking after discussions, taking an interest in little gatherings, dating, addressing authority figures, or going to parties upsetting most pieces of an individual public activity) As indicated by the measures expressed above, social fear can be summed up or non-summed up, contingent upon the broadness of social and execution circumstances that are dreaded. While summed up social fear prevents an immense scope of social and execution circumstances, non-summed up social fear may hider/confine just execution of some social exercises or commitment. As indicated by wellbeing insights from year 2002, social fear influences 3% of the Canadian grown-up populace (Social Anxiety Disorder, 2006). In USA 13.3% of the populace experience the ill effects of social fear eventually in their life (Kessler et al., 1994). Insights demonstrate an actual existence time predominance of about 8% to 12% creation social fear one of the most widely recognized nervousness issue (Social Anxiety Disorder, 2006; Kessler, et al., 1994). Aside from being a high pervasiveness issue, social fear is additionally known to have a high comorbidity, extraordinarily substance misuse or potentially liquor reliance (Schadã ©, A., Marquenie, L., Van Balkom, et al., 2008; Amies, Gelder, Shaw, 1983; Schneier, Johnson, Hornig, Liebowitz, Weissman, 1992). Kessler et al. (1994) expressed that while the lifetime pervasiveness of social fear is as high as 13.3%, the commonness announced in a 30-day duration is between 3% 4.5%. Furthermore, other comparable conditions, for example, modesty, conduct restraint, hesitance, particular consideration and humiliation are believed to be connected with social fear (Beidel Morris, 1995; Beidel Randall, 1994; Leary Kowalski, 1995; Rosenbaum, Biederman, Pollock, Hirshfeld, 1994; Stemberger, Turner, Beidel, Calhoun, 1995). As per Schneier, Johnson, Hornig, et al. (1992), comorbidity of at least two mental issue, is additionally genuinely normal with social fear. Research has likewise shown that social fear is additionally portrayed with a higher recurrence of self destruction endeavors (Schneier et al., 1992). Concentrating on the effect of the turmoil on the personal satisfaction, social fear is depicted as an ailment of botched chances, since its beginning stage prevents future social movement, for example, conjugal achievement and profession development (Social Anxiety Disorder, 2006). The writers of this article expressed that these people were more averse to be knowledgeable, have a place with lower financial status, and are conceivably unmarried. What's more, they likewise endure more prominent practical, wellbeing, and physical weaknesses than people without social fear (Social Anxiety Disorder, 2006). In this manner the turmoil significantly affects the personal satisfaction, specifically, socially and inwardly. Underlining on this point, the writers of this article featured that in a network wellbeing overview in Canada, individuals with social fear were twice as liable to report at any rate one incapacity day in the previous fourteen days, contrasted with individuals without soci al fear (Social Anxiety Disorder, 2006). Etiology of social fear

Eyefi

Eyefi INTRODUCTIONMartin: Today we are in Mountain View at the office of Eyefi with Ziv. Ziv, who are you and what do you do?Ziv: Thanks for having m! I am one of the co-founders and I run in Business Development and I also evangelize and started the company about 8 years ago.Martin: And what did you do before you started this company?Ziv: So before we started, I was doing high-tech. So we’re four founders, I used to be an engineer, actually all of us used to be engineers. Here at Eyefi two of us are in business, two of us are engineering. I was at Apple a few times and then several startups before Eyefi and then Eyefi is my first founding company. And I have done one more since Eyefi in background and so I would say top 7 rate startups.Martin: Great. An engineer turned to business developer, how rare is that?Ziv: So I knew that Okay, so my two co-founders are way better than me in engineering. So I knew that they are so much better than me, I can just let them do the really really hard stuff and I can do the marketing, sales, business development. So as we started we agreed that they would do the hard core stuff, the really really heavy stuff and they are just way better and over the years we both migrated to marketing sales and biz development. But even before Eyefi I went more into management and marketing and so it worked out.Martin: How did you come up with the founding idea of Eyefi?Ziv: For Eyefi? We start having kids and we are here in the west coast, my parents are in the east coast. We were struggling with the new lack of sleep and everything else and so how do you actually share photos if you are busy you actually can share photos, and my parents were in the East Coast we are here in the west coast. We got the guilt trip non-stop of where are your first kids photos. And it’s not hard to share, it’s a chore. So usually you put chores off; laundery, cooking, dishes, usually you are okay doing them but you put them off. So getting the photos out of a ca mera to a computer is the same thing, it’s a chore. So taking a photo is easy, taking a video is easy, it’s just a click and everything else that comes afterwards is a chore. So we wanted to change to photo industry. We wanted to show, Hey, we can actually use these cameras which are really fun to use, but how do you actually get the content out of then and share it as close to the moment as possible. So we started with a different idea, we then morphed that idea EyeFi card and that was our launch.Martin: Great.BUSINESS MODELMartin: Let’s talk briefly about the current business model for Eyefi, how does it work?Ziv: So you put the card into your camera, you takes pictures, the card becomes a wifi hotspot, it then is being seen by your phone or your tablet or anything that’s around you, that connects to it and the magic just happens. So all you do is take pictures because the card is a wifi hotspot, the phone connects to it automatically and everything happens. It goes to the phone or tablet and from there it goes to our cloud or any other cloud. So its super simple, you buy the card at retail and immediately as you get it, you can start to use it and immediately start to share photos from the moment of capture.Martin: How can I manage as a customer where the photos will go?Ziv: So they go to our app, from our app it goes to anywhere you want, normally; Photo Roll, iOS, Gallery on Android, and then from there if you have Dropbox watching your Gallery or Photo roll, it goes to drop box, Google photo plus, Google plus, Facebook, anything that you want to, they already have a new device that works. We have the popular intents as well so you can from within our app go to Facebook, Twitter, Flicker, anything that is already installed on the phone, as well as we can go to a computer so from a computer it goes to anywhere you want to. You are really on your own with whatever you are already used to, the main difference is the photo that you captured on your ph one can come from a camera versus from the crappy camera that built in the phone.Martin: Right, understood. How is the distribution strategy working? So what type of distribution partners are you using and why did you choose this kind of distribution strategy?Ziv : Sure, we sell at every major retail. We sell globally, today we have 85% coverage globally. So we sell at every major retail, so Best Buy would sell here in the US for example, Amazon online is selling us, BH, Adorama. So the top photo retailers as well as CE, Consumer Electronics. In Europe we are at MediaMarkt, Saturn, every major retail in Europe, so western Europe, so Germany France, UK, Italy, Spain, everywhere in major retail as well as everything online, same in Asia, Asia pacific. We’re not yet in all of China but we’re launched in China and we are pretty much everywhere in Asia Pacific, Middle East and South Africa. We sell into distribution and then they turn around and sell it into retail but we are the one s that go out and sign retail.Martin: So the end customer pays X amount of euro for a card and gets what?Ziv: So you walk into a store, say MediaMarkt in Germany and you pay 41 Euros or 62 Euros or 82 Euros for 8 gig, 16 gig, 32 gig card. You then leave the store and you get the app from the app store and then there is code that is in the Eyefi card packaging that you enter into the app. Once you do that you are done. After 3 months, we then ask you if you want to actually pay for our cloud, if you pay for our cloud, awesome. For 45 Euros we give you infinite storage, in the US it’s 50 dollars in Europe 45, so you get infinite storage for your photos. If you don’t pay for the cloud, no problem, it still goes to your mobile device, but it stays there it doesn’t sync across devices, that’s it. So the cloud gives you sync across devices, across platforms, across device and infinite storage.Martin: And how much does it cost from a monthly perspective?Ziv: Its 50 dollar per year or 45 Euros per year for infinite storage.Martin: Okay Geat.CORPORATE STRATEGYMartin: Let’s talk about the corporate strategy. So what distinguishes you from all of your competitors?Ziv: We used to not have any competitors for about, so we’re 8 years old, for about 7 or 6 years we had no competitors. This is patented, it’s not patent pending, its patented. So for a while we had zero competitors. If you talk about competitors in terms of wifi and cameras, there was wifi and cameras even before we started Eyefi. So in 05’, 06’, Canon, Kodak, Nikon had wifi built in. But the camera guys are really good at building cameras, they don’t know how to do cloud and services and wifi really really well. We cannot build cameras but we can do clouds, services and software really really well. So the competitors today, we have two competitors out of Asia, they don’t have our distribution, they don’t have a global reach and our way of doing this is super automatic. So we believe tha t as you capture photos, it should go from the camera to the phone automatically. The competitors, basically you have to sign into the card from your phone from a web browser, choose the photos that you want to download and then download those. We believe that’s a lot of work. So in terms of competition, I would say the base competition force is not the wifi cards or the wifi cameras is the smartphone that people are using now and not the cameras. That’s why we have the cloud, so it can use your camera or your smart phone, either way, if you pay for our cloud, we’ re okay.Martin: Okay great.ADVICE TO ENTREPRENEURS In Mountain View, we meet co-founder Evangelist of Eyefi, Ziv Gillat. He shares his story how he co-founded this startup and how the current business model works, as well as some advice for young entrepreneurs.The transcription of the interview is included below.INTRODUCTIONMartin: Today we are in Mountain View at the office of Eyefi with Ziv. Ziv, who are you and what do you do?Ziv: Thanks for having m! I am one of the co-founders and I run in Business Development and I also evangelize and started the company about 8 years ago.Martin: And what did you do before you started this company?Ziv: So before we started, I was doing high-tech. So we’re four founders, I used to be an engineer, actually all of us used to be engineers. Here at Eyefi two of us are in business, two of us are engineering. I was at Apple a few times and then several startups before Eyefi and then Eyefi is my first founding company. And I have done one more since Eyefi in background and so I would say top 7 rate startups.Martin: Great. An engineer turned to business developer, how rare is that?Ziv: So I knew that Okay, so my two co-founders are way better than me in engineering. So I knew that they are so much better than me, I can just let them do the really really hard stuff and I can do the marketing, sales, business development. So as we started we agreed that they would do the hard core stuff, the really really heavy stuff and they are just way better and over the years we both migrated to marketing sales and biz development. But even before Eyefi I went more into management and marketing and so it worked out.Martin: How did you come up with the founding idea of Eyefi?Ziv: For Eyefi? We start having kids and we are here in the west coast, my parents are in the east coast. We were struggling with the new lack of sleep and everything else and so how do you actually share photos if you are busy you actually can share photos, and my parents were in the East Coast we are here in the west co ast. We got the guilt trip non-stop of where are your first kids photos. And it’s not hard to share, it’s a chore. So usually you put chores off; laundery, cooking, dishes, usually you are okay doing them but you put them off. So getting the photos out of a camera to a computer is the same thing, it’s a chore. So taking a photo is easy, taking a video is easy, it’s just a click and everything else that comes afterwards is a chore. So we wanted to change to photo industry. We wanted to show, Hey, we can actually use these cameras which are really fun to use, but how do you actually get the content out of then and share it as close to the moment as possible. So we started with a different idea, we then morphed that idea EyeFi card and that was our launch.Martin: Great.BUSINESS MODELMartin: Let’s talk briefly about the current business model for Eyefi, how does it work?Ziv: So you put the card into your camera, you takes pictures, the card becomes a wifi hotspot, it then is b eing seen by your phone or your tablet or anything that’s around you, that connects to it and the magic just happens. So all you do is take pictures because the card is a wifi hotspot, the phone connects to it automatically and everything happens. It goes to the phone or tablet and from there it goes to our cloud or any other cloud. So its super simple, you buy the card at retail and immediately as you get it, you can start to use it and immediately start to share photos from the moment of capture.Martin: How can I manage as a customer where the photos will go?Ziv: So they go to our app, from our app it goes to anywhere you want, normally; Photo Roll, iOS, Gallery on Android, and then from there if you have Dropbox watching your Gallery or Photo roll, it goes to drop box, Google photo plus, Google plus, Facebook, anything that you want to, they already have a new device that works. We have the popular intents as well so you can from within our app go to Facebook, Twitter, Flicker, anything that is already installed on the phone, as well as we can go to a computer so from a computer it goes to anywhere you want to. You are really on your own with whatever you are already used to, the main difference is the photo that you captured on your phone can come from a camera versus from the crappy camera that built in the phone.Martin: Right, understood. How is the distribution strategy working? So what type of distribution partners are you using and why did you choose this kind of distribution strategy?Ziv : Sure, we sell at every major retail. We sell globally, today we have 85% coverage globally. So we sell at every major retail, so Best Buy would sell here in the US for example, Amazon online is selling us, BH, Adorama. So the top photo retailers as well as CE, Consumer Electronics. In Europe we are at MediaMarkt, Saturn, every major retail in Europe, so western Europe, so Germany France, UK, Italy, Spain, everywhere in major retail as well as everything online, s ame in Asia, Asia pacific. We’re not yet in all of China but we’re launched in China and we are pretty much everywhere in Asia Pacific, Middle East and South Africa. We sell into distribution and then they turn around and sell it into retail but we are the ones that go out and sign retail.Martin: So the end customer pays X amount of euro for a card and gets what?Ziv: So you walk into a store, say MediaMarkt in Germany and you pay 41 Euros or 62 Euros or 82 Euros for 8 gig, 16 gig, 32 gig card. You then leave the store and you get the app from the app store and then there is code that is in the Eyefi card packaging that you enter into the app. Once you do that you are done. After 3 months, we then ask you if you want to actually pay for our cloud, if you pay for our cloud, awesome. For 45 Euros we give you infinite storage, in the US it’s 50 dollars in Europe 45, so you get infinite storage for your photos. If you don’t pay for the cloud, no problem, it still goes to your mob ile device, but it stays there it doesn’t sync across devices, that’s it. So the cloud gives you sync across devices, across platforms, across device and infinite storage.Martin: And how much does it cost from a monthly perspective?Ziv: Its 50 dollar per year or 45 Euros per year for infinite storage.Martin: Okay Geat.CORPORATE STRATEGYMartin: Let’s talk about the corporate strategy. So what distinguishes you from all of your competitors?Ziv: We used to not have any competitors for about, so we’re 8 years old, for about 7 or 6 years we had no competitors. This is patented, it’s not patent pending, its patented. So for a while we had zero competitors. If you talk about competitors in terms of wifi and cameras, there was wifi and cameras even before we started Eyefi. So in 05’, 06’, Canon, Kodak, Nikon had wifi built in. But the camera guys are really good at building cameras, they don’t know how to do cloud and services and wifi really really well. We cannot build cam eras but we can do clouds, services and software really really well. So the competitors today, we have two competitors out of Asia, they don’t have our distribution, they don’t have a global reach and our way of doing this is super automatic. So we believe that as you capture photos, it should go from the camera to the phone automatically. The competitors, basically you have to sign into the card from your phone from a web browser, choose the photos that you want to download and then download those. We believe that’s a lot of work. So in terms of competition, I would say the base competition force is not the wifi cards or the wifi cameras is the smartphone that people are using now and not the cameras. That’s why we have the cloud, so it can use your camera or your smart phone, either way, if you pay for our cloud, we’ re okay.Martin: Okay great.ADVICE TO ENTREPRENEURSMartin: I mean you have several years of experience as an entrepreneurs. What type of advice can you give other young entrepreneurs when they are thinking about starting a company?Ziv: It’s very tough. I think that being an entrepreneur is a disease. The reason that I say that it’s a disease is that it is really really hard and then you keep doing it andyou keep goong forth and you keep doingit over and over again. So that’s why it’s super super tough and we are crazy and we just keep doing it again. So let me just start with that.In terms of advice, it has to be a passion, if it’s not a passion, you are never going to succeed, because so many things will go against you, it will go wrong, that it wasn’t a passion you will quit after the first year. Typically businesses takes 7 years to exit, people think that they are going to start a business and flip it within a year or two, that happens sometimes, that is very very rare. Most of them fail and the ones that do succeed, takes 7 years to exit plus, actually it takes even more. We’re 8 plus years old and we still haven’t had the exit yet but we have tons of customers, tons of revenue and so the curve is awesome but we have not had an exit yet, so it takes a lot of work.Martin: Okay great and what advice can you give when somebody thinks about developing a hardware product? Because I mean this is a mix between hardware and software product that you’re providing and he’s thinking about a hardware product and wants to define the go-to market strategy.Ziv: Sure. I would say don’t focus on the hardware, focus on the software and focus on services first. The hardware is just a way to get it, it’s a conduit. We’ve always since day one said we are not doing hardware only, we are building services, we have had the cloud since day one. 8 years ago it was called the server, now it’s called the cloud, so really really important. People who focus on hardware, focusing on hardware first, they then build bad software, we had that as well. We had the card selling retail for 6 years then I would say our software was really not that great. Because we focused on the hardware, we made the hardware really really amazing and we had amazing camera relationships, integrations, we have camera from across all the cameras but our software wasn’t really good. We then took a step back, took away many of the features, simplified it, now it has way less features so in Europe for example Mobi is our only selling product, we don’t have the pro, the pro has tons of features, hard to set up. Mobi sells everywhere, easy to set up, less features. So focus on the software first. When you can figure out the software and the services and you figure out the experience then start building the hardware.Martin: And when you are trying to make partnerships with companies like MediaMarkt etc, and your very early in your start up process, how do you convince them?Ziv: So usually they come to us. So if you’re cool, they come to you. If you’re not cool, you go to them and then it’s really hard. But if y ou have a really cool productâ€"see the problem is retail is it has a very very limited shell space, online retail is very different. Amazon takes anybody because they have no physical space. Physical goods are really really hard to sell into retail so you really have to have a unique value prop and if you do, they actually come to you. For the ones that are smaller you can actually have a sales person that’s really amazing, they already have the relationship with the buyer and they can approach them. If you have enough margin in a product, if it’s enough value prop, they agree to it. But if you are one more, let’s say you make a mouse, if you are one more mouse, they won’t take you necessarily because they already have they preferred three or four vendors. But if you’re unique, they will take you.Martin: Okay, great Ziv, thank you very much for your time.

Humanity of Christ in The York Play of the Crucifixion - Literature Essay Samples

In the late Middle Ages and early Renaissance, there was an emergence of creativity and imagination. These ideals were portrayed throughout the fields of human inquiry artwork and entertainment being especially affected. A powerful example of such a newly creative dramatic style is the emergence of mystery plays, or plays that depicted the change in portrayal of Christ’s humanity. In earlier times, the Catholic church was very strict as to the interpretation of the Bible, with the pope’s word or interpretation being the only one allowable. Anyone who strayed from this interpretation could be heavily punished. With the emergence of the Renaissance, creativity spread not only into the secular arts but also the spiritual arts. The Catholic church began commissioning a series of mystery plays to enlighten the people regarding the gospel, and to a different kind of Christ than they had previously known a Christ who was no longer harsh, silent, cold, and nothing like themse lves. Mystery plays, such as the â€Å"York Play of the Crucifixion,† helped to portray the humanity of Christ through the use of character, comedy, and setting. In â€Å"The York Play of the Crucifixion,† the humanity of Christ is, somewhat unexpectedly, also depicted through the character development of the soldiers. In the play, Christ is being taken by four soldiers to the hill to be crucified. The four soldiers are unnamed, possibly to help make the soldiers more universal and relatable to the audience. With this device, the viewers, or readers, are now able to find more in common with these soldiers, and detect resemblances to the soldiers in their complete disregard of Christ. The soldiers show this disregard with comments such as â€Å"Then to this work us must take heed/ So that our working be not wrang/ None other note to neven is need/ But let us haste him for to hang† (25-28). These lines, spoken by soldiers one and two in the beginning of the play, introduce the audience to naivety of the soldiers, in that they have no idea of who they are crucifying. The soldiers, who represent all people, show how we can be blind to Christ and his atonement for us. The focus on Christ’s act of atonement, and our place in remembering his sacrifice, is portrayed in a very different way in the York Play of the Crucifixion, as compared to plays from earlier eras. The play is told by everyday soldiers, from mankind’s perspective, to better depict our relationship with Christ. He is seen as just another traitor to be crucified: â€Å"Come on, let kill this traitor strong† (32). By having this perspective set before it, the audience is better able to see its relationship with Christ as a blessing, as a gift we should take advantage of, instead of taking in the previous beliefs that centered on our debt and natural sin. Christ himself speaks a few lines in the play, which accentuates his divine mercy. Through the disregard of the soldiers and the contrast with Christ’s constant passivity, both Christ’s humanity and his divinity are portrayed. â€Å"Almighty God, my Father freeHere to dead I oblige me/ For that sin for to save mankind/ And sovereignly beseek I thee/ That they for me may favor find/ And from the Fiend them fend, So that their souls be safe† (51-58). These lines, the first spoken by Christ in the play, show the reader His great humility and forgiveness. The lines, thrown in the mix with the complaints of the soldiers, invoke painful emotions for the audience. Furthermore, Christ’s humanity is show through references to his physical character, focusing on his bodily inflictions. ‘Yea, asunder are both veins and sinews† (147). This line shows the soldier’s focus on Christ’s human nature, on his bodily suffering, reminding the audience of His humanity. The character portrayal of both the soldiers and Christ help to e mphasize His relationship with the common man, and His more human side. The use of comedy in â€Å"The York Play of the Crucifixion† also serves to emphasize the humanity of Christ. The soldiers, common, everyday men, are preoccupied with their task, which is seen by them as menial and even annoying. There are comedic lines in the play, as well as an underlying current of humour throughout. Specific line examples can be found in a soldier’s complaining of the craftsmanship of the cross and nailings: â€Å"It fails a foot and more/ The sinews are so gone in/ I hope that mark amiss be bored/ Then must he bide in bitter bale/ In faith, it was over-scantly scored† (107-112). These lines can be seen as operating on several levels. In one way, they offer comedic relief to such an emotional theme. In another, they serve to engage the audience. Offering a contrast with earlier interpretations of Christ’s suffering, a comedic feel helps to draw in people to then hear a greater message. However, the comedy also operates as a contrast be tween the humility and submissiveness of Christ. A more painful example of their humor arises when the first soldier tells the second to continue beating Christ: â€Å"Strike on then hard, for him thee bought† (101). With the jokes and complete disregard of respect that the soldiers have, emphasis is put on the quietness of Christ, further calling attention to the theme of his humanity and of our relationship with Him. The comedy offers a realistic setting, allowing us to further relate to the soldiers. Furthermore, the actual setting of the play offers emphasis on the humanity of Christ. The play takes place in one, static setting, allowing the characters and message to appear timeless. By putting the soldiers in such a setting, the audience is further able to relate to their experience. The lifting of the cross is also significant, in that, from an audiences standpoint, their focus has been primarily on the soldiers, but now is on Christ. It is an appropriate ending as it r eminds again the audience of our duty in remembering Him, and how his humanity allows us to be able to have a divine relationship with Him. â€Å"The York Play of the Crucifixion† is a prime example of the emerging creativity of the Renaissance. With previous depictions of Christ, in art as well as literature, as harsh and cold, the new portrayal of his humanity through mystery plays helped the people to hear the gospel and feel Christ’s love in a new, more engaging, and more interpretive way. In â€Å"The York Play of the Crucifixion,† various elements of character, humour, and plot work together to emphasize our relationship with Christ through his humanity. Work Cited Reidhead, Julia, ed. Christs Humanity. The Norton Anthology of English Literature. Vol. A. New York City: Norton, 2012. 440-47. Print.

Rhetorical Analysis of The Shadow Scholar - 2063 Words

Bessette Laura Bessette ENG W131 Spring 2014 Rhetorical Analysis of The Shadow Scholar The prefix pseudo seems to perfectly describe the character of Dave Tomar, known by all as Ed Dante (Dave Tomar is Dantes pseudonym). His article The Shadow Scholar, which appeared in the chronicle review section of _The Chronicle of Higher Education_ on November 12, 2010, stirred controversy and a scare throughout the entire professional world. Doctors, educators, administrators, law officials, and all other professions of importance consequently came under the microscope. Dante has spent the course of a decade as a full-time ghostwriter who is paid to help students cheat as they achieve competency in their chosen fields of study. This†¦show more content†¦Despite the overwhelming and shocking nature of his work, Dante represents himself as a relatable, practical, and down-to-earth sort of individual. All ethical scrutiny aside, he comes across as any other co-worker in your office who works hard, long hours to pay the bills. In defense, he continues that theres the money, the sense that I must capitalize on opportunity. Yet despite this relatable personalization, the superhuman qualities that Dante possesses are no light joke. Dante builds both trust, awe, and anger in his audience - all important aspects which build the foundation of a successful controversy. Within this structure, Dante proceeded to include background information on his previous occurrences as a ghostwriter. These are the points that draw personal credibility to Dante. Shocking accounts of his experiences capture the attention of the reader. Dante quotes that he will cease all human functions but typing, Google until the term has lost all meaning, and drink enough coffee to fuel a revolution in a small Central American country. This is not surprising, as it turns out that Dante occasionally churns out 20 to 40 pages a day. The trust that Dante builds with his experience is built as he progressively describes his daily life, his role in the company, and the companys role in society. Dante showers the reader in unbelievable statistics onShow MoreRelatedInfluential Factors Of The Audience s Understanding1425 Words   |  6 Pagesopinion be tween Kevin J. H. Dettmar and Sarfraz Manzoor on Dead Poets Society is one such example. Dettmar states that: â€Å"Dead Poets Society is a terrible defense of the humanities.† This is because he thinks the film is void of literary criticism or analysis; the only things left are misleading and deeply seductive. On the contrary, Manzoor cites Dead Poets Society as his favorite film that is un-cynical, idealistic, hopeful, and which inspires him when he needed it the most. (His understanding of thisRead More George W. 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The Case Of Margaret. Margaret - 788 Words

The Case of Margaret Margaret is a forty-year-old woman, whose husband left her for a younger woman. Margaret has experienced symptoms of shock, rage, and weeping spells. She has been isolating herself in bed because she doesn’t want to deal with anyone or anything. Along with her depressed mood, she has been consuming alcohol in a considerable amount. Margaret’s business has been suffering and she feels like a â€Å"total failure†. Family members concerned grew, which pushed Margaret to meet with a clinical psychologist (Butcher, Hooley, Mineka, 2013). I will form an appropriate diagnosis, rule out disorders, address the potential risks for suicide and homicide, and form recommendations. Forming A Diagnosis After careful consideration, I believe Margaret is suffering from F32.2 Major Depressive Disorder (MDD), severe, single episode, with melancholic features. The Diagnostic criteria for MDD fits with the information given in the case of Margaret. Margaret has a depressed mood most of the day, nearly everyday by subjective report or by observation of others. Margaret has a diminished interest or pleasure in all or almost all activities most of the day, nearly everyday. She experiences psychomotor retardation nearly everyday. It is clear Margaret is suffering from fatigue and loss of energy. She experiences feelings of worthlessness and excessive inappropriate guilt everyday. She reports having diminished ability to think and concentrate nearly everyday. The symptomsShow MoreRelatedA Slave Mothers Fury1148 Words   |  5 PagesA Slave Mother’s Fury: The Story of Margaret Garner In 1793, The United States government issued The Fugitive Slave Act which mandated the return of runaway slaves back to their original slave owners if they were caught. 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Essay on The Pros and Cons of Euthanasia - 1086 Words

Euthanasia, good or bad? In this following article I will be exploring euthanasia in more detail, the different Christian points of view, the strengths and weaknesses of the euthanasia argument and finally my point of view on euthanasia and why I believe this. First of all, what is euthanasia? It is something that not many people think about until they or a friend or family member is put in a position where they might actually have to consider it. Euthanasia, in the dictionary, simply is: the action of ending someone’s life in a painless way. It seems pretty simple but in reality it is a lot more complicated, not only for the people involved but for the society in general as well. Overall there are four different types of†¦show more content†¦One of the most important pieces of scripture a Christian follows is the 10 commandments and one, and in my opinion the most important, commandment is â€Å"Do not commit murder.† (Exodus 20:13) This raises the question, is euthanasia murder? and in many Christian’s view is that if a life is taken away earlier than God planed then it is murder and therefore many Christian’s point of view on euthanasia is that it is wrong. Another quotation that supports what I believe is the general view of many Christians around the world is the idea that God has already planned out our life and knows when the right time to die is. This is shown in the bible saying â€Å"He set the time for birth, and the time for death.† (Ecclesiastes 3:2) and again here: â€Å"your days allotted to me, had all been recorded in your book, before any of them began.† (Psalm 139:16) Both these quotations show, according to the bible, that God has already planned out our life-from the time that we are born to the time of our death. The last Christian point of view is also shown through the bible saying â€Å"You created every part of me, you put me together in my mother’s womb.† (Psalms 139:13) This quotation is saying that God created everything about us and not only is linked with the point of view above saying that God has already planned out our lives but is also linked with the idea that God created us and chose when we were born so he shouldShow MoreRelatedPros And Cons Of Euthanasia915 Words   |  4 Pages Legalizing Euthanasia The issue of legalizing euthanasia is a highly debated, and emotional issue. 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The Epidemic Of Infectious Diseases - 987 Words

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A Pilot Study On Classroom Observation Education Essay Free Essays

string(161) " feeling of schoolroom ambiance would be noted as H \( high \) , F \( carnival \) , or L \( low \) to see if schoolroom atmosphere is related to metaphor usage\." Chapter 4 This chapter describes a pilot survey conducted after the preliminary survey and before the chief survey. It begins by a brief debut given in subdivision 4.1, followed by treatments on the sample choice, observation agenda and pre and station session interviews in subdivision 4. We will write a custom essay sample on A Pilot Study On Classroom Observation Education Essay or any similar topic only for you Order Now 2. Section 4.3 covers the schoolroom observations. Gesture cryptography, including the written text, coding jobs and policy, and consequences of the cryptography are included in subdivision 4.4. Discussion and decision concentrating on schoolroom observation and metaphoric gestures are covered in subdivision 4.5. The chapter ends with the deductions for the chief survey explored in subdivision 4.6. 4.1 About the Pilot Study This pilot survey built on a old little graduated table preliminary survey ( chapter 3 ) . The purposes were: ( a ) to see existent clip schoolroom observation ; ( B ) to prove out and better the observation agenda and interview inquiries ; ( degree Celsius ) to research whether Chinese music instructors used metaphoric gestures and if so, what these metaphors were and where they were used ; and ( vitamin D ) to prove out and develop metaphoric gesture designation processs. The focal point was limited to music Sessionss in junior high schools because in the preliminary survey, more metaphors were found from the junior degree than from the simple degree. The information of this pilot survey were transcribed from three general music Sessionss taken by Wang, a music instructor in a junior high school in Taiwan. 4.2 Before the Observation 4.2.1 Sample Selection Situated in a in-between to upper-middle category suburb of a major northern metropolis, Wang ‘s school was founded in 1988, with 4,268 pupils and 113 categories in 2006. It is considered to be a large school, comparative to the official norm of 1,299 pupils per junior high school in Taiwan for the school twelvemonth 2005-2006 ( Department of Statistics, Ministry of Education of Taiwan ) . The informations were collected in general music categories with pupils aged between 12 and 14. Each category contained around 35 pupils, and talk was the lone type of interaction observed. The consequences of the preliminary survey showed that metaphor denseness may differ because of learning content. Therefore the Sessionss observed for this pilot were limited to music theory, music history, and music grasp. Wang ( a anonym ) had received her MA in musicology four old ages antecedently and since so had been learning music in the same junior high school. Bing really open-minded about taking portion in research and being observed, Wang was one of the really first music instructors I contacted for the preliminary survey. Since so she had been helpful in replying my inquiries and supplying me background information about the state of affairs of music instruction in junior high school degree in Taiwan. After the preliminary survey, I emailed her to inquire her permission for me to come in her schoolroom and video-record a twosome of Sessionss, and she agreed to take part. Music lessons form portion of the Humanistic disciplines and Humanities class class in junior high schools in Taiwan ( see subdivision 2.4.1 ) , and hence music, humanistic disciplines, and executing humanistic disciplines portion one text edition. â€Å" The humanistic disciplines subdivision negotiations about utilizing different colorss to stand for the four seasons, and the music subdivision negotiations about Vivaldi. So it occurred to me that it ‘s a good chance to give a talk on the Baroque epoch and present Vivaldi ‘s The Four Seasons to them, † ( Wang, pilot interview 2 ) . At the clip when this study was written, MOE of Taiwan did non supply one â€Å" standard † version of the text edition, and schools were free to take the version they preferred. Wang therefore on a regular basis designed the content of her lessons. â€Å" The text edition references nil about the Baroque epoch so I make my ain PowerPoint slides to assist pupils set up the background cognition † ( Wang, the same interview ) . Teachers are allowed to re-arrange the order of the instruction contents and set related things together. In some schools, music instructors have to learn executing humanistic disciplines, but this was non the instance in Wang ‘s school, where there were three single instructors for the three bomber classs: music, humanistic disciplines, and executing humanistic disciplines. 4.2.2 Observation Schedule and Interviews After Wang agreed to take part in the survey, I explained to her about the research through electronic mail. She understood that the research was about schoolroom discourse and hence suggested me to put the observation clip at a hebdomad after the mid-term test, when she was approximately to present the Baroque epoch to her pupils. One month before the schoolroom observation, Wang and I met to discourse which classes to detect, including when I should get, where I should sit and how best to put up the recording installation. In add-on, Wang approximately explained what sort of schoolroom activities would be involved and what she intended to learn. Wang was told that the survey was about schoolroom talk and the thought was to detect a session with every bit much talk involved as possible. She hence suggested Sessionss chiefly covering music history and music grasp. This meeting is classed as pilot interview 1 ( for more inside informations, see Appendix B ) . A real-time observation agenda was designed, with a intent of associating the schoolroom activities and metaphor usage. As can be seen from the agenda ( see Appendix C ) , both start and terminal times of the activities needed to be specified and during each activity, runs of metaphors and gestures needed to be made, so that I could acquire a basic sense of where bunchs of metaphors and gestures most frequently occurred ( though in the event it proved about impossible for me to number them during categories, something which will be discussed subsequently in 4.6.1 ) . In add-on, the observation agenda covered: administration of the category, stuffs, and musical instruments used, and the linguistic communication used by the instructor and pupils. A general feeling of schoolroom ambiance would be noted as H ( high ) , F ( carnival ) , or L ( low ) to see if schoolroom atmosphere is related to metaphor usage. You read "A Pilot Study On Classroom Observation Education Essay" in category " Essay examples" A follow-up interview ( pilot interview 2 ) with Wang was conducted after detecting the three Sessionss. The face-to-face semistructured interview took topographic point in Wang ‘s music schoolroom during her interruption, enduring 42 proceedingss. Again, I was permitted to enter it, and at the same clip made notes while Wang was speaking. A list of information or inquiries I planned to seek or inquire, translated from Chinese ( the linguistic communication used during the interview ) into English is appended ( Appendix D ) . In the interviews, information was sought about Wang ‘s educational background and working experience, and inquiries covered how Wang prepared for the category and aimed to explicate new constructs, how Wang thought about metaphors and gestures, and if she used them to assist her Teach. Mandarin Chinese was used throughout the interview. Notice that the Numberss are for the convenience of composing up the study ; the inquiries were asked without any specific order. During the interview with Wang, the above subjects were covered. To Wang, metaphor helped the pupils to link music and their day-to-day life experiences. She gave an illustration of the birds, Canis familiariss, spring air current, and summer boom in Vivaldi ‘s The Four Seasons. However, she did non normally interpret music in her ain manner when introducing or depicting it- † I merely interpreted the music in the manner which the composer marked on the music manuscript † ( Wang, pilot interview 2 ) . Although overall the interviews went swimmingly, it was realised that some inquiries were excessively general and more inquiries about metaphor and gestures were needed. Detailss are discussed in 4.6.1. 4.3 During the Observation For the first session, I entered the music schoolroom with Wang around 15 proceedingss before the session began. Wang told me that because of the limited Numberss of music schoolrooms, music instructors in her school had to take bends utilizing them. It was Wang ‘s bend to hold one of the music classrooms that semester and hence she was allowed to remain in the room waiting for the pupils to get. The excess clip proved utile from the point of position of puting up the picture equipment. The chief equipment in the music schoolroom included a piano, an electronic piano, a chalkboard with clean musical staff, an LCD projector, a DVD participant, and a few classical instrumentalists ‘ portrayals and illustrations of musical instruments on the walls, etc. Wang had to supply her ain laptop. Figure 4.1 illustrates the layout of the schoolroom where the three observed Sessionss took topographic point. The two black circles on the top exposure indicate where the picture recording equipment was placed and where I sat. The picture recording equipment started to enter when the pupils started to walk into the schoolroom. It was non turned off until the category was dismissed and the schoolroom was empty. Neither the instructor ‘s nor the pupils ‘ seats were moved. As a nonparticipant research worker, I tried to maintain the schoolroom the manner it was without me. I sat at the dorsum of the schoolroom next to the picture recording equipment, to take field notes which might be helpful during the readying of the transcripts. Photographs were besides taken earlier or/and after Sessionss. The picture recording equipment started to enter when the pupils started to walk into the schoolroom. It was non turned off until the category was dismissed and the schoolroom was empty. Figure 4.1. Pilot survey: Music schoolroom scene. For most of the clip the pupils could non see me during the categories. However, there was one clip, while Wang corrected a pupil ‘s thumbing while playing the recording equipment, another pupil kept turning and gesticulating â€Å" YA † ( the V mark, with his index and in-between fingers of his right manus raised and the staying fingers clenched, palm facing outwards ; a really popular gesture in Taiwan when being photographed ) toward the picture recording equipment. Wang noticed it. She asked the pupil to stand up and present himself to the picture recording equipment, and encouraged him to give a solo public presentation for two bars, and so the session continued. This was the lone break caused by the research worker ‘s presence during the Sessionss I observed. The talk construction of the three Sessionss I observed was rather similar. It was because Wang designed and followed her ain instruction course of study for each twelvemonth of the pupils, and besides because the three Sessionss I observed were all in the same twelvemonth ( twelvemonth seven ) . The session started with playing the recording equipment. Wang reviewed the piece she had taught in the old session with the whole category and so selected a few pupils to stand up and play separately, in order to detect how much pupils had learned ( Wang, pilot interview 2 ) . Then she taught one new piece by showing and playing with the whole category. After the recording equipment playing, the talk portion â€Å" episode † ( Lemke, 1990 ) started. Wang began by presenting the recording equipment ensembles: bass, tenor, alto, soprano and sopranino recording equipments. Then she introduced some of import epochs in musical history, with a focal point on the Baroque. To this terminal, Wang gave pupils some background cognition about the features of the music, musical instruments, and some celebrated instrumentalists, before presenting Vivaldi and his concerto, The Four Seasons. By and large talking, the observation agenda proved easy to tag. Keeping records based on schoolroom activities made it easy to remember what happened in the Sessionss, and there was adequate clip to maintain records for most of the classs, except for the Numberss of lingual metaphor and gesture used. Second it became clear that some classs needed to be farther specified-this will be discussed subsequently in 4.6.1. 4.4 Gesture Coding McNeill ‘s strategy ( see subdivisions 6.3.2 for a reappraisal of the literature and 6.3.3 for a treatment, on gesture categorization systems ) applied in this survey required inquiring what significances and maps a gesture possessed. In other words, the classs were non based on merely one aspect of a gesture. For illustration, iconics and metaphorics were more semantically oriented, while deictics were more pragmatically oriented. Because of this, each class was non treated as discrete or reciprocally sole, but as holding characteristics that may be present in changing grades, and perchance in combination. Therefore, the ultimate end of gesture cryptography is to place the extent to which each characteristic is present, instead than sort the gestures ( Eisenstein A ; Davis, 2004 ; McNeill, 1992 ) . In this pilot so it is really of import to put up a cryptography policy to bespeak when to categorize a gesture by its significance and when by map. More inside informations are di scussed in 4.4.3. Two programmers were involved in gesture cryptography in order to prove out McNeill ‘s process and increase the dependability of the survey. The other programmer, a alumnus pupil in the Department of Educational Studies at the University of York, was a native talker of Chinese with some cognition of metaphor holding conducted her MA research on the subject. McNeill ‘s three chief gesture categories-deictics, iconics, and metaphorics-were introduced before I asked her to categorize the gestures which Wang used. Due to clip restriction, merely a portion of the hearing to The Four Seasons from Wang ‘s first session was selected. The portion was chosen for its heavy distribution of gestures. It lasted for five proceedingss and ten seconds, with 35 gestures identified by me antecedently. More inside informations about gesture cryptography are discussed in 4.4.4. 4.4.1 Data Choice Due to the limited clip available, merely one session was chosen for gesture cryptography. The ground for taking the first session was that although the construction of the three Sessionss was similar, the first session was more complete and covered all the activities from recording equipment playing, a talk on the Baroque epoch, to music hearing, with a more even allotment of clip, than the other two Sessionss. Types of activities affair here because if Numberss of gestures differ in different types of activities ( and it seems so from the consequences ) , affecting more activities in the informations can cut down the hazard of any possible gesture loss. 4.4.2 Transcribing the Data Both gestures and address were transcribed. Speech was transcribed to the full from the videotape in Chinese. The written text of gestures included three stairss: ( a ) place the motions that were gestures ( here gesticulations ) ; ( B ) place the shot of the each gesture ; and ( degree Celsius ) locate the boundaries of the gesture phases in the relevant portion of the phonological written text. 4.4.3 Coding Problems and Policy The consequences of the gesture classification from the two programmers were compared. Unlike deictics, which were all agreed by both programmers, iconics and metaphorics seemed to represent the more debatable classs. One of the illustrations was where Wang lifted her left manus at shoulder tallness with her thenar confronting up and wiggled her center, ring, and small fingers fast in bend when stating the word zhuangshiyin ( â€Å" shake † ; actual interlingual rendition: â€Å" ornament notes † ) . Although both programmers agreed that Wang was keeping an unseeable fiddle and playing the shakes, we however coded it otherwise. The other programmer coded it as metaphoric, because the referent of the gesture, zhuangshiyin, was interpreted as a lingual metaphor itself. I coded it as iconic because the gesture in fact was stand foring what was explicit in the attach toing address and therefore had a close relation to the gesture. This helped develop one of the coding polic ies later-gestures attach toing metaphors in address were non decidedly considered to be metaphorics. Another job related to the programmers ‘ differential focal points and readings of the same gesture. Wang said, â€Å" The boom came fast and went fast. Then it became quiet once more. † In the first sentence she began by traveling her left arm from left to compensate with the thenar confronting up and fingers curving and so moved the arm back to the left without altering the form of the thenar. For the 2nd sentence, she turned over her left thenar to confront the land with consecutive fingers and pressed down the thenar a small spot in the air. The different cryptography concerned the first sign phrase. When I coded them, I focused on the motions of the arm, which was moved from left to compensate, and so back to the left, which seemed to bespeak â€Å" came † and â€Å" went † in address. Therefore the gestures were coded as iconic ( instead than metaphorics, which was clarified subsequently ) . On the other manus, the other programmer focused on the form of the thenar, which changed from a thenar with curled to consecutive fingers. She interpreted the curling fingers as stand foring the â€Å" fast † in address, while the consecutive fingers represented the â€Å" quiet, † and so she coded them as metaphoric. What was stupefying was that none of us thought about construing the same gesture each other ‘s manner before holding the treatment. Our in agreement place was to category the gestures as iconics, because both of us agreed that it was more common to see such gestures looking along with â€Å" came † and â€Å" went † than â€Å" fast † and â€Å" quiet. † In add-on, what the other programmer received before coding might hold affected her. She used my written text of gestures while categorizing the gestures. Although the gestures were described in a descriptive linguistic communication, it was found subsequently that some of the written text was in fact subjective. For illustration, descriptions such as â€Å" the right manus drew a form of flash visible radiation † or â€Å" the left manus indicated composure † were already readings and they could be misdirecting to the other programmer. These jobs non merely predicted what may go on during the cryptography procedure for the chief survey, but besides helped develop the cryptography policy to be used, which is discussed below. Identifying Gestures In this survey, â€Å" gesture † specifically refers to gesticulation. Any thumbing the instructor used to show how to play the recording equipment, or the conducting gestures frequently used while the category was playing the recording equipment were beyond the range of this survey and excluded. The reading of Wang ‘s gestures was made from the research worker ‘s position, and it is deserving observing that this might differ from the reading from the talker ‘s or the addressee ‘s positions ( A. Cienki, personal communicating, June 3, 2008 ) . Metaphorics Metaphorical gestures were defined as gesticulations which present a more abstract referent in footings of a more concrete image and prosecute a cognitive procedure of understanding one thing in footings of something else. This definition dovetails moderately good with Lakoff and Johnson ‘s conceptual metaphor theory, the theoretical model on which this nowadays survey was built, and at the same clip does non belie the Pragglejaz definition of metaphorically used lexical points applied in the survey ( discussed in subdivision 3.3.2 and subsequently in 6.4.2 ) . One illustration is when Wang said gangqin de yinse yue lai yue xizhi ( â€Å" the timber of the piano becomes more and more delicate, † and gestured utilizing a unit of ammunition and half-open thenar confronting up attach toing the word â€Å" delicate. † Here, the gesture carries the double construction required by a metaphoric, in which the representation of the daintiness of the timber ( a more abstract referent ) by the gesture is presented as what appears to be an image of a bud waiting to open ( a more concrete base ) . Deictics versus Metaphorics Both McNeill ‘s deictics and iconics were re-defined for the present survey. Harmonizing to McNeill, abstract indicating gestures which imply a metaphorical image are besides included in the class of deictics. For illustration, gestures were used in my informations to indicate at an bing physical topographic point, but they referred to as an abstract construct of where the talker had been earlier. When Wang said â€Å" Did we merely say that ornament is popular in Baroque epoch, † she raised her left index finger to indicate to the â€Å" thought † which she merely mentioned in the same session. Pragmatically speech production, these gestures were indicating gestures ( deictics ) , but semantically speech production, the topographic point which the gestures pointed to was interpreted as someplace else based on the address context. In other words, such gestures engaged a cognitive procedure of understanding something ( the physical topographic point which the gestu re pointed at ) in footings of something else ( the existent infinite or thought which the middleman talked about antecedently ) and hence were classified as metaphoric. Iconics versus Metaphorics Gestures in a context where the Vehicle of a metaphor is explicitly flagged both by the custodies and by linguistic communication were classified as iconic. That is, if a instructor says â€Å" music is a container † and gestures a container, the gesture will be categorised as iconic instead than metaphoric because the gesture may attach to metaphor, but itself represents the actual signifier of the word â€Å" container † ; nevertheless, if the same gesture accompanies the sentence â€Å" we can experience the unhappiness in his music † , it will be classified as metaphoric. An effort was therefore made to separate between sign illustrations of verbal metaphors and gestures that were themselves metaphoric. This besides explains why the gesture â€Å" came † and â€Å" went † attach toing Wang ‘s vocalization of journey metaphor, â€Å" the boom came fast and went fast, † which was discussed before in this subdivision was coded as iconi cs instead than metaphorics. 4.4.4 Method After transcribing the address of the whole session, the picture infusion was watched by the two programmers individually, concentrating on merely the gestures. Every gesture Wang used was categorised into one of the three types of gesture: deictic, iconic, and metaphoric. It was decided to group the gestures into merely three classs instead than five ( including beats and cohesives ) because these three classs are more related to the focal point of the survey. Reasons for categorizing the gestures into three instead than two ( metaphorics and nonmetaphorics ) were that these were the three most popular gestures and that distinguishing deictic from iconic gestures would assist supply a better apprehension of what other types of gestures the instructor used along with metaphor in address besides metaphoric gestures. The 13.5 % dissension of the coding consequences between the two programmers was compared and discussed, until each gesture was classified into one of the three classs. The gestures were so highlighted on the transcript by utilizing three different colorss, to ease denseness and distribution analysis. Finally, maps of the gestures were noted. 4.4.5 Consequences The continuance of Wang ‘s direction in the recordings was 46 proceedingss, numbering 8,964 characters transcribed. In the session, 89 gestures were identified ; 43 % were iconics, 30 % metaphorics, and 27 % deictics. Every gesture was categorised. The distribution was such that over 75 % of them fell in the subdivisions on Listening to The Four Seasons ( 42 % ) and the talk on the Baroque epoch ( 35 % ) . Merely 1 % of the gestures occurred in the gap and the recording equipment drama subdivisions. Deictics Wang used deictics to indicate at objects. Her superciliums rose when she started the inquiry â€Å" Can you see the word, Baroque, in the text edition † and looked at the pupils. Her left index finger pointed forwards. Then when Wang said the focal point of the inquiry zhege zi ( â€Å" the word † ) , she raised her right manus and pointed at the screen behind her with her index finger. When she pronounced the word, â€Å" Baroque, † she turned her upper organic structure, half confronting the screen and looked for one second at the Chinese characters for â€Å" Baroque † written on the screen. Extract 11 [ a? †° c?†¹a? ° e ¬ ] a [ †° a? « eˆâ„ ¢aˆâ€ ¹ a ­- cs„ aZY?-†¡ ] i?YBaroquei†°Ã¢â‚¬â„¢Ã¢â‚¬ °i?Y [ Ni you kandao keben ] shibushi [ you xie zhege zi de yuanwen ] ? Baroque, youmeiyou? [ you have see casebook ] ( Q ) [ have write this word ( DE ) etymology ] Baroque ( Q ) Can you see if the English word, Baroque, is in the text edition? However, deictics were non ever used to indicate to something concrete. For illustration, when listening to the first motion of The Four Seasons, Wang compared the fiddles ‘ shake to birds tweet in the spring. When she asked the category to pay attending to a certain portion of the tune, she repeatedly put her index finger of her right manus following to her right ear and pointed to the air. Wang kept reiterating this gesture whenever she tried to pull the category ‘s attending to the music. Therefore, it appeared to be the music she was indicating at, although it was non concrete, or even seeable at all. The undermentioned infusion is another illustration of indicating to the unseeable. Wang asked the category if they still remembered what instruments she had mentioned earlier in the same session. The first reply â€Å" cembalo † came from a pupil and every bit shortly as Wang heard it, she raised her right index finger, indicating. Wang so repeated the reply and gave her response, â€Å" really good. † It is arguable whether Wang ‘s finger was indicating to the word, â€Å" cembalo, † or the pupil who gave the reply, but in either instance the gesture was categorised as deictic. Extract 12 Thymine: ‘aˆ‘ a†°Ã¢â‚¬ º?†°? e ? µ?e cs„ ‚aâ„ ¢? †° aâ€Å"?a?†ºi?Y adult females gangcai shuo liuxing de yueqi you naxie we merely say popular ( DE ) instrument have ( Q ) What are the popular instruments we merely mentioned? Second: a ¤Ã‚ §e? µc dajianqin cembalo Harpsichord. Thymine: [ ] a ¤Ã‚ §e? µciaaie‚„†° a‘?i?Y [ ] daijianqin henhao haiyou Ne [ ] cembalo really good still have Q [ ] Harpsichord. Very good! What else? Second: a? ¦ ‚aâ„ ¢? xian yueqi threading instrument Stringing instrument. Thymine: [ ] a? ¦ ‚aâ„ ¢?ie?za ai [ ] xian yueqi feichang hao [ ] twine instrument really good [ ] String instrument. Very nice! Iconics Iconics were the most common type of gesture in Wang ‘s category, and most of them appeared in the talk on the Baroque epoch and The Four Seasons subdivision. Gestures bespeaking Numberss and for presentation frequently fall in this class. For illustration, Wang held both weaponries set in forepart of her thorax, with both thenars confronting the land and put her lingua out, when depicting a puppy sitting lazily in forepart of a house in summer, while listening to the 2nd motion of The Four Seasons: â€Å" Because it ‘s excessively hot, the doges put their linguas out, right? † In the undermentioned illustration, Wang compared the difference between the flute and recording equipment while she was explicating why the recording equipment was translated as zhidi ( â€Å" perpendicular flute † ) . A flute, nevertheless, is held horizontally by the participant which is why it is besides named hengdi ( â€Å" horizontal flute † ) in Mandarin Chinese. When she asked the undermentioned inquiry, she used both custodies to copy gestures of both flute and recording equipment participants, to underscore the different waies in which two musical instruments were played. Extract 13 e†¢Ã‚ ·c ¬Ã¢â‚¬ º a ®? [ c†º?e‘- a ] e‚„ [ ? ©Ã‚ «e‘- a ] i?Y changdi Ta shi [ zhizhe chui ] hai [ hengzhe chui ] flute ( 3SG ) is [ perpendicular blow ] or [ horizontal blow ] Make you play the flute vertically or horizontally? The referent of the gestures did non ever appear at the same clip when the referent was uttered in address. In Extract 14, Wang used her right manus to indicate to the pillars in the schoolroom on her right and so left side, when she was speaking about the architecture of the edifices in the school. After she pointed to the pillar on her left side, she used both her pollex and index fingers of the right manus and moved the arm heterosexual and vertically, up down and back up. These gestures were iconics, stand foring â€Å" consecutive lines † in address. Next, when she talked about the lines in Baroque edifices, she used her right thenar to do a simple â€Å" U † curve in the air. Here in gesture, the soft â€Å" U † curve motion was contrasting with the old gesture of traveling the right pollex and index finger vertically, but in address, the adjectival â€Å" curved † contrasting with the adjectival â€Å" consecutive † in the first line did non follow straight until the 3rd line. The gesture preceded the word that related to it semantically. It seemed to back up the hypothesis that although gestures and address were different ocular and verbal elements, someway they were in fact conceptually integrated in an thought unit ( Cienki A ; Muller, 2008 ; McNeill, 2005 ) . Extract 14 [ ?Y ±a ­? a ] [ e c†º? c ·s cs„ ] i?Ya °?aa °?i?Yc ·s a c °?a- ® [ zhuzi shibushi ] [ dou shi zhi xiantiao de ] duibudui xiantiao biddy kiandan pillar ( Q ) all are consecutive line ( DE ) ( Q ) line really simple [ The pillars are ] [ in consecutive lines ] , are n’t they? Very simple lines. a a ·Ã¢â‚¬ ºa†¦Ã¢â‚¬ ¹ ?â„ ¢Ã¢â‚¬Å¡Y cs„ ?â„ ¢Ã¢â‚¬Å¡aˆâ„ ¢ [ ?ˆZei?Y†e ce ¤Ã¢â‚¬ ¡ia °?aa °?i?Y ] keshi baluoke shiqi de shihou [ zenmeWang bijiao fanfu duibudui ] but Baroque epoch ( DE ) clip ( Q ) more complicated ( Q ) But how approximately in the Baroque epoch? More complicated, is n’t it? [ c ·s †e ? ¬? ] †° e? ±a ¤s cs„ ?†ºS? a °?aa °?i?Y [ xiantiao bijiao Army Intelligence ] you xuduo de quzhe duibudui [ line more good ] have many ( DE ) curved ( Q ) [ Lines are, good, ] more curving, are n’t they? Metaphorics In entire, 30 % of the gestures were metaphorics and it was interesting that metaphorics occurred in about all the eight different schoolroom activities. The lone two exclusions were the gap and stoping comments which Wang made ; Wang used no gestures at all in her gap comments. SPACE AS TIME TIME IS AN ENITITY MOVING TOWARD THE SPEAKER is one of the conceptual metaphors shared by both English and Mandarin Chinese. For illustration, in Mandarin Chinese people say shengdanjiei kuailai lupus erythematosus, which means â€Å" Christmas is nearing, † and xingqitian guo lupus erythematosus means â€Å" Sunday passed. † Time is so thereby conceptualised as something traveling in infinite, and this can be seen even more clearly with gestures. Extract 15 was from Wang ‘s session when she introduced the different periods in musical history. She explained the order of the Renaissance and the Baroque. Firstly she raised her left arm, straightened out her five fingers, with the thenar confronting down, at about eyebrow tallness, and so moved her manus down to the tallness of her thorax. The two points in the infinite indicated the two different clip ranges in musical history and TIME is therefore represented as SPACE by the gesture. However, it is interesting in t his illustration that clip travelled in different waies in address and gesture ; in address, clip moved toward the talkers, but in the gesture it moved from up to down. In fact, the metaphor the gesture expressed here exists entirely in footings of gesture, non in address ( c.f. , subdivision 7.4.8 ) . That is, one would non state in Mandarin Chinese â€Å" the Baroque is at the underside of the Renaissance † to intend the same thing. Extract 15 -†¡e-?a? ©e [ e?Za?†  ?†°? a ·Ã¢â‚¬ ºa†¦Ã¢â‚¬ ¹ ] wenyifuxing [ guolai cai shi baluoke ] Renaissance [ come yet is Baroque ] The Baroque comes after the Renaissance. SPACE IS IMPORTANCE Another conceptual metaphor suggested by the gestures is SPACE ( UP ) AS IMPORTANCE. This has a really close relation with the common conceptual metaphor in address: SIZE ( BIG ) AS IMPORTANCE. In Mandarin Chinese, district attorney ( â€Å" large † ) can be used as an adjectival to depict something of import. In Extract 16, Wang told the category that there were some of import periods in musical history. When she said that â€Å" there are some of import and large periods, † she lifted up her left arm with her unfastened thenar confronting down, so traveling increasingly downwards, stopped at different highs. Alternatively of ranking the periods from large to little by gestures, she ranked them from up to down. It was another illustration of different metaphors being used in address and co-speech gestures. Extract 16 eY‚ ? ­Ã‚ ·a a?S cs„ a?† Y a-† †° aaˆâ€ ¹ [ e†¡?e ¦?cs„ a ¤Ã‚ §cs„ ?â„ ¢Ã¢â‚¬Å¡Y ] yinyue lishi Shang de fenqi o you jige [ zhongyaode dade shiqi ] music history up ( DE ) period ( PRT ) have several [ of import large period ] About the periods in musical history, some are of import and large. Detached SPACES AS DIFFERENT PARTS OF AN EXPOSITION Metaphoric gestures which separate different parts of an expounding appeared more than one time, and although in address Wang ever said â€Å" FirstaˆÂ ¦moreoveraˆÂ ¦and thenaˆÂ ¦ , † she did non ever use the same gestures for them. Sometimes she gestured the Numberss â€Å" one, † â€Å" two, † and â€Å" three † even though she did non verbally say any Numberss. At other times, she merely turned over the other thenar from confronting the land to confronting upwards, when traveling to a new construct or thought in address. Such metaphoric gestures distinguish different parts of an expounding being made as separate ( downwards and upwards, or right and left ) infinites. For illustration, when Wang reviewed the chief points she had mentioned in category about Vivaldi, and asked the category to compose the chief points down in their ain text edition, she said â€Å" firstaˆÂ ¦moreoveraˆÂ ¦and thenaˆÂ ¦ , † and gestured wi th her right index finger indicating to different fingers of her left manus, to bespeak alterations of subject. 4.5 Discussion and Conclusion 4.5.1 Classroom Observation Lesson construction and activities involved Figure 4.2 shows the comparative sum of clip Wang spent on different activities across the three Sessionss. The two chief activities were recorder playing and a talk on the Baroque epoch, which between them accounted for about 2/3 of the entire clip. Besides Wang spent 15 % of clip listening to The Four Seasons with the category. The two parts where metaphors and gestures were used most frequently were the talk on the Baroque and listening to music, which took more than 2/5 of a session. Figure 4.2. Pilot survey: Relative clip spent on activities across Wang ‘s 3 Sessionss. Gesture usage and schoolroom ambiance For schoolroom ambiance on the agenda, three degrees were defined: high ( H ) was recorded when the category showed enthusiasm and the dB degree in schoolroom was high. Fair ( F ) was noted when merely a portion of the category responded to the instructor and the remainder remained soundless. Low ( L ) indicated that the category was quiet and seemed non to pay attending to the instructor, or when silence occurred after inquiries. It is of import to observe that the three degrees were comparative instead than absolute. Figure 4.3. Pilot survey: Gesture frequence and schoolroom atmosphere. It was assumed that there would be a positive correlativity between the figure of gestures and schoolroom atmosphere. However, the three boxes in Figure 4.3 show the topographic points where the two factors suggest a negative correlativity. It seemed that in the parts of talk where Wang used a certain figure of gestures did non needfully do the category more enthusiastic about their acquisition. One of the possible accounts was that more gestures were made due to the low schoolroom ambiance. Interviews Both the interviews I had with Wang before and after the category Sessionss were face to face and semistructured. Most inquiries I had were unfastened inquiries. Making the interview semistructured allowed me to make a more natural talk ambiance without jumping the inquiries to which I wanted replies. The instructor would so be free to speak whatever their feelings and/or ideas were toward certain inquiries. At the same clip, nevertheless, I needed to maintain an oculus on both clip control and interview way to do certain I got the replies to the planned inquiries. Normally I did non disrupt Wang but tried to direct her dorsum to the subjects when she began to speak something unrelated. By and large talking, Wang ‘s replies were consistent because she echoed her ain point of positions when giving replies to different inquiries. For illustration, when asked how she prepared to explicate new constructs ( inquiry six ) , she indicated that music did non be entirely and a instructor had to assist pupils construct up the whole context in footings of clip, topographic point, and how people lived and thought at that peculiar clip, in order to understand a piece of music. She emphasised that music and other artistic signifiers such as architecture and humanistic disciplines were closely related, which she kept adverting when replying how she decided if the stuffs were suited for the category ( inquiry five ) and why music instruction was of import to her ( inquiry two ) . 4.5.2 Metaphorical Gestures Functions of Metaphoric Gestures In Wang ‘s Sessionss, different maps of co-speech gestures were examined and the followers were the three chief 1s found: ( a ) to underscore, ( B ) to visualize, and ( degree Celsius ) to put up. First, gestures helped underscore what Wang wanted to state. Normally underscoring gestures accompanied a verbal look incorporating Numberss, which highlighted different facets of a subject. These gestures could be metaphorics or iconics. They were used when the instructor helped the pupils to either prevue the chief points or reexamine the chief thoughts which were traveling to be introduced. These gestures seemed intended non merely to assist indicate out the of import chief points, but besides to do it easier for the category to follow the instructor ‘s expounding. Deictics which pointed out the subject being talked about in address besides seemed to underscore points and promote hearers to pay more attending to the subject. Second, gestures were used to visualize the abstract. Wang made a large horizontal â€Å" S † form with her left arm when stating the category that the tune they were listening to was depicting the spring zephyr. The metaphoric gesture all of a sudden made the line of the tune seeable. Besides, in Extract 14, Wang drew consecutive lines in the air while she was explicating the simpleness of the school ‘s edifice compared with Baroque ‘s complication. These iconics therefore helped visualize the abstract thought of simpleness. Finally, gestures were used by Wang to show ( positive ) feedback. As shown in Extract 12, alternatively of indicating to any pupil after Wang asked the inquiry to put up a specific pupil to reply, she pointed after hearing the response from the pupils. Almost every bit shortly as she completed the gesture, she repeated the reply from the pupil. It seemed that Wang ‘s finger was activated by the voice which produced the reply, and the index finger stopped in the air and headed in the way of where precisely the reply had come from. By making so, the attending of the category was drawn to the reply, followed by the positive response, â€Å" really nice, † made by Wang to the pupil concerned. Relationss of Metaphoric Gestures and Speech As the focal point is on metaphor and metaphoric gestures in this survey, Table 4.1 shows the dealingss between vocalizations and co-occurring metaphoric gestures. The consequences support the findings from other surveies in English ( Cienki, 1998 ; Cienki A ; Muller, 2008 ) . Table 4.1 Relationss Between Utterance and Co-occurring Metaphoric Gestures Relationss Example Notes 1 The same metaphor expressed in address and gesture â€Å" The timber of the piano becomes more and more delicate. † The gesture depicts a beginning sphere ( â€Å" delicate † ) in address by a unit of ammunition and half-open thenar confronting up. 2 A metaphor expressed in gestures but non in the co-occurring address â€Å" FirstaˆÂ ¦moreoveraˆÂ ¦and thenaˆÂ ¦ † The index finger of one manus points to the fingers of the other manus. The metaphoric gesture distinguishes different parts of an expounding being made by stand foring them as separate infinites. 3 Different metaphors expressed in address and gesture â€Å" About the periods in musical history, some are of import and large. † ( Extract 16 ) Address and gesture portion the same mark sphere of the metaphor ( of import ) , but the beginning sphere is characterised otherwise in address ( large ) and the gesture ( high ) . 4 Metaphors expressed by gestures ne’er appear in lingual signifier in Mandarin Chinese â€Å" The Baroque comes after the Renaissance. † ( Extract 15 ) What the gesture expresses here is that â€Å" Baroque is at the underside of the Renaissance. † Such an look is non usually used in address to intend that the Baroque comes after the Renaissance. 34.6 Deductions for the Main Study 4.6.1 Classroom Observation Researcher ‘s function as a non participant Although my purpose was to maintain the schoolroom as it was before my entry, this was about impossible to make. As shortly as a pupil noticed that there was a alien in the room, things became different. Some pupils reacted to Wang ‘s inquiries more actively ; some tried to acquire Wang ‘s attending more enthusiastically than of all time, which I did non gain until Wang indicated the fact in category. Some pupils besides kept turning about during the Sessionss to see what I was making while others were funny about my reaction when a gag was told. Wang seemed to be natural in forepart of the video-recorder. She rarely looked at the video-recorder and in the three Sessionss I observed for two yearss, no particular reactions because of the presence of the video-recorder were found. Young mentioned that she had been observed for several times by the other instructors ( pilot interview 2 ) , and it might explicate why she looked rather natural in forepart of it. From the research worker ‘s point of position, come ining schoolrooms is a necessity for this survey because it allows one to acquire a better thought of the schoolroom ambiance and the context, which can non be wholly caught by watching a videotape, allow entirely an audio tape. However, it can be hard to judge if the information collected are affected due to any camera consequence ( Mackey A ; Gass, 2005 ) . Classroom observation will stay the chief method of roll uping informations for the chief survey, and farther treatment on its job and how to undertake it in the chief survey is given in subdivision 5.10. Observation agenda The observation agenda helped me to track the procedure of each session during and after Sessionss. With the agenda, it was easy to turn up where I was in the session whether I sat in the schoolroom or watched the recorded picture at place. Overall the prepared observation agenda proved easy to tag. The classs ( activity, start and terminal clip, Numberss of lingual metaphor and gesture, participant administration, stuffs, instruments, linguistic communication used, and schoolroom atmosphere ) of the observation agenda were clear, although some needed to be clarified or deleted. It proved impossible to maintain accurate runs of lingual metaphors and gestures during the three Sessionss, even though I forced myself to seek to make it for a short period of clip during one of the Sessionss. Therefore this was non used for the chief survey. Some classs need to be redefined. There was a categorization named â€Å" Individual † in the participant administration subdivision ( see Appendix C ) and when I designed the agenda, I was believing about points where the instructor spent her clip on merely one peculiar pupil. That is, the instructor might travel following to the pupil or inquire the pupil to come to her, doing it clear that a certain period of the instructor ‘s clip was being devoted to one individual pupil. However, during the three Sessionss, this sort of single administration ne’er happened. Alternatively, another sort of single administration kept looking. Wang would speak to one peculiar pupil in forepart of the whole category. Although the conversation was non limited to the two ( Wang and the pupil ) , it was decided to code it as â€Å" single † participant administration. It was decided for the chief survey to include both the above types of participant administration as â€Å" single. † Classs of images and audio tape confused me at first during the observation. The chief stuff Wang used in her categories was PowerPoint slides, and the slides included non merely text, but images and sounds. It was decided that the categorization â€Å" images † should be extended non merely to palisade charts or postings, but besides to images provided electronically. The categorization â€Å" audio tape † was modified to â€Å" audio sound, † which included sounds whether provided by PowerPoint or by the piano played by Wang in category. In add-on, the categorization â€Å" PowerPoint † was added. Hence, when Wang showed a image of a Baroque palace via PowerPoint, both classs of â€Å" image † and â€Å" PowerPoint † were ticked. The class of â€Å" schoolroom ambiance † was deleted for the chief survey because focal points of the survey were modified and schoolroom ambiance was no longer an issue in the chief survey. A modified observation agenda based on the pilot survey for the chief survey is appended ( see Appendix E ) . Interview inquiries After the pilot interviews, it was discovered that inquiries six and eight were excessively general for the interviewee to reply. Furthermore, none of the inquiries was about gestures and hence this needed to be added. Besides, for inquiries four, five, and six, alternatively of inquiring the general state of affairs, inquiries were modified to promote the interviewee to reply based on the Sessionss being observed, instead than give general statements which the interviewee thought s/he â€Å" was supposed to make. † Finally, the order of the inquiries was rearranged to make a better flow of the conversation, although it was ne’er fixed. A list of modified inquiries for the chief survey is appended in Appendix F. 4.6.2 Gesture Coding Gesture Coding In this pilot, the other programmer was provided a transcript with both address and gestures. For the chief survey, the other programmer will be provided video cartridge holders and a written text of the instructors ‘ address merely. S/he needed to transcribe gestures get downing from placing stages of them to avoid the subjective reading of my description of the gestures. It can be really hard to code gestures without video-recording the Sessionss, and even with the picture, it can still take a batch of clip to reiterate playing one cartridge holder until gestures are decently transcribed. Both ocular and audio information are important, for the former records the motion inside informations without being interpreted into words, while the latter provides the address context. Overall, gesture classs are defined non merely by the manus gesture but besides by the function of gesture within the lingual context. Therefore it is about impossible to code gestures by kinetic motion informations entirely, and it is one of the grounds why gesture cryptography can be both clip and attempt consuming. How to cite A Pilot Study On Classroom Observation Education Essay, Essays