Structured English Immersion in Arizona schools Free Essay Example, 2500 words

Structured English Immersion in Arizona schools Introduction Teaching English of the non-native speakers and has often been regarded as a severe task for the educators. Such teaching provides the possibility for teachers to enhance the ability of language learning among the students. The various learning programs intended for the students promote them an expansion and rapid growth in their language skills which has been noted as improving their interactions with others. Educational researchers have identified the tremendous influence of such language studies on students, how a well planned instruction making them comprehending the key words in English and effectively using them in their day today conversations. This is common knowledge that English language learners at pre-emergent and emergent levels are looking for a well balanced instruction which may make them capable of getting proficiency in good vocabulary, practical communication skills, grammar— the essential factors ensuring effective communication. Teachers have decisive roles in improving the skills of the students in English language. They have the roles of facilitators in arranging the classrooms, presenting the best possible model of the language, delivering focused lessons on foundational grammar skills, and providing feedback, guidance, and reinforcement that supplements the natural language learning abilities of students (English language proficiency (ELP) standards reading, 2007). We will write a custom essay sample on Structured English Immersion in Arizona schools or any topic specifically for you Only $17.96 $11.86/pageorder now Analyzing these factors one can see that the implementation of a new system of learning can certainly influence students in various ways to improve their language skills. Regarding the implementation of such a new system, the voters of Arizona passed a ballot initiative in 2000 that required all English language learners to be educated through Structured English Immersion (SEI) (Clark, 2009 42). Analyzing the features and strategies of SEI in promoting better educational background for English Language Learners, one can certainly regard it as the â€Å"best practice. † Documentation of history Analyzing the history of Structured English Immersion (SEI), Learner can comprehend the fact that it was Keith Baker and Adriana de Kanter introduced SEI in recommendation to schools to improve the process of teaching English for non-native speakers in Canada. Then SEI has achieved a new status in 1991as a result of advanced studies conducted by David Ramirez and he coined two basic components like teachers maximize instruction in English and teachers use and teach English at a level appropriate to the abilities of the ELL in the class (Clark 2009).

Csr And Its Usefulness For Modern Business - 1739 Words

Many social scientists and economists like Friedman (1917 NYT article); Visser (2010) and Karnani (2011) have been looking at the arguments for and against ‘Corporate Social Responsibility’. There are many different definitions of CSR but the idea behind it is that businesses contribute to the well being of society, as well as sustainable development by delivering environmental, economic and social benefits to society, not just economic benefits to the shareholders. Most writers have made slightly different cases against CSR and its usefulness for modern business and society. One can see, even by looking at relevant case studies, that there are certainly a large amount of flaws involved in the concept of CRS and DWBD (Doing well by doing good), which I shall point out over the rest of this coursework. I shall also consider the positive aspects of CSR, I will explore the critical writings off Karnani, who claimed that in each case CSR is either irrelevant or ineffective, and compare those to other notable criticisms such as Reich and Visser who all analyse various faults with the concept of CSR. A problem that I came across early in my research and reading was that motives for businesses to engage in CSR are very often not pure. Many businesses use CSR in order to claim their social licence to operate. As the CSR activity often makes them seem legitimate and responsible, it gives managers an opportunity to hide and disguise the activities of the corporation. This is theShow MoreRelatedThe Principles Of Scientific Management2994 Words   |  12 Pagesefficiency and effectiveness in meeting its objectives (Garg, 2013). Scientific management has been the dominant model for many years, but its usefulness for meeting modern organisational challenges may be limited. 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Kant defines God as simply the idea Free Essays

Kant defines God as simply the idea (in his technical sense of idea) or analogical image of systematic unity. As an existent, ‘God’ is a natural illusion. We can have no cognition of God or an underlying substratum because such concepts transcend the conditions of possible experience. We will write a custom essay sample on Kant defines God as simply the idea or any similar topic only for you Order Now In the phenomenal realm, God or the ens realissimum, an individual being containing â€Å"the sum-total of all possibilities† or all predicates of things in general – can be characterized only negatively. God is not an object and as such can be cognized only by analogy with nature. It is by means of this analogy that there remains a concept of the Supreme Being sufficiently determined for us, though we have left out everything that could determine it absolutely and it itself. In his analysis of the conditions of the possible cognition of objects Kant distinguishes between different kinds of judgments. In doing so, he is examining what type of cognitions make up, or could make up, the concept of God or any other metaphysical consideration. Kant does not divide propositions, as traditionally done, into the empirical and the a priori. Instead, Kant talks about judgments, propositions that are held by a subject. Kant argues that all judgments are either analytic or synthetic, and either a priori or a posteriori. Analytic judgments are those in which the predicate inheres in the subject or is presupposed by it. Synthetic judgments are those in which the predicate is not in the subject. A priori in the Kantian sense means held before experience, or what can be held without experience. A posteriori means dependent on and derived from experience. Kant’s analysis of judgments has implications for the analysis of metaphysical concepts such as God. If metaphysics is at all possible, then its judgments cannot be empirical or a posteriori. Nor can they be analytic, since this would be contrary to the very idea of going beyond what is given – something that metaphysics claims as its defining characteristic. In its traditional guise, the cosmological proof is premised upon finite and contingent being or, more to the point, conditioned being.   What is conditioned has conditions, and the mind is naturally led to infer condition from conditioned without limit.   The only possible way to end this regress (and thereby to satisfy understanding) is by positing unconditioned being.   Kant expresses the proof as follows:   â€Å"If anything exists, an absolutely necessary being must also exist.   Now I, at least, exist.   Therefore an absolutely necessary being exists†. Without absolutely necessary (i.e., unconditioned) being to end the regress of causes, there is no completeness to the series and no satisfaction for understanding. On the otherhand, Hegel’s ultimate aim in discussing the proofs for the existence of God (viz., the cosmological, teleological, and ontological) is to remove what he calls the ‘distortion’ evident in their popular exposition. Hegel takes this distortion to be the well-spring of Kant’s widely accepted refutation of the proofs.   Hegel explains, â€Å"our task is to restore the proofs of God’s existence to a position of honor by stripping away that distortion†Ã‚   Kant’s damning attack, then, is not directly met by Hegel. The Kantian criticisms were, for Hegel, by and large warranted given his construal of the proofs.   Hegel’s aim is rather to recast the nature of these proofs (and proof in general).   Hegel accomplishes this end is quite naturally in light of his reformulation of metaphysics.   His subsequent reintroduction of the proofs is one that is able to avoid Kant’s refutation – a refutation which Hegel thinks is based upon a mistaken view of human conception. There is very little regarding Kant’s analysis that Hegel finds objectionable given Kant’s rendition of the proofs.   Rather than refute Kant directly, Hegel is far more concerned that we see these proofs in their ‘true and proper form’.   According to Hegel, Kant â€Å"failed to recognize the deeper basis upon which these proofs rest, and so was unable to do justice to their true elements†. In each case, Hegel agrees, the infinite is supposed to be reached from a starting-point which is finite.   This transition, however, is not the static formal mediation Kant believes it to be.   Hegel explains, This knowledge of God, is inwardly a movement; more precisely, it is an elevation to God.   We express religion essentially as an elevation, a passing over from one content to another.   It is the finite content from which we pass over to God, from which we relate ourselves to the absolute, infinite content and pass over to it . Returning to the proofs themselves, Hegel finds that they evidence the progression of human thought itself.   Kant was in part correct in his claim that the ontological proof is the battlefield on which the outcome of the war is to be determined.   For Hegel, the ontological proof is the most profound achievement of spirit.   It comes late in the historical play of appearances for this reason.   For Hegel, furthermore, the deficiencies particular to each of the earlier proofs are very nearly the ones pointed out by Kant. The cosmological proof has as its point of departure the nonsystematic cognition of the world (i.e., the world is not seen as Nature). â€Å"By the term world we understand the aggregate of material things.† In this mode of proof, consideration is first given to the being of variety, flux, and contingency evidenced by this aggregate.   â€Å"This is the kind of starting-point from which the spirit raises itself to God†.   This elevation, as already discussed, is impossible if one affirms this contingency. Further, to affirm the contingency of the world is to overlook its self-negating character. This next proof is so similar to the first that it seems unnecessary to consider it in great detail.   There are, however, also some distinctive insights worth mentioning.   Again, the proof departs from an apprehension of finitude – in this case determinate finitude.   â€Å"There is finite being on one side, though it is not just abstractly defined, or defined only as being, but rather as being that has within it the more substantial determination of being something physically alive†.   The negation of finitude is, again, at the same time an elevation and affirmation. The ontological proof also finds its point of departure in finitude.   In this case, finitude appears in the form of subjectivity.   Progress is not to be had by affirming the finitude of the mere conception of God.   Such an affirmation amounts to a reduction of all conception to mere representation.   This finitude of consciousness (in which consciousness is construed as subject in contradistinction to object) must, of course, be negated.   Conception must be cast in its true and proper light. This final proof is the culmination of millennia of progress in the realm of consciousness for Hegel.   â€Å"Only when spirit has grown to its highest freedom and subjectivity does it grasp this thought of God as something subjective and arrive at this antithesis of subjectivity and objectivity†.   It is natural that the earlier proofs should therefore fall short of their mark.   This elevation fits naturally into Hegel’s larger system for understanding the history of religion, consciousness, being, and culture.   Indeed, Hegel explains, â€Å"Even within the Christian era it was not accomplished for a long time, because it involves the most profound descent of spirit into itself†. How to cite Kant defines God as simply the idea, Essay examples

Ode To Autumn free essay sample

This is the most faultless of Keats’s odes in point of construction. The first stanza gives us the bounty of Autumn, the second describes the occupations of the season, and the last dwells upon its sounds. Indeed, the poem is a complete and concrete picture of Autumn, â€Å"the season of mists and mellow fruitfulness†. Its Sensuousness The bounty of Autumn has been described with all its sensuous appeal. The vines suggesting grapes, the apples, the gourds, the hazels with their sweet kernel, the bees suggesting honey—all these appeal to our senses of taste and smell. The whole landscape is made to appear fresh and scented. There is great concentration in each line of the first stanza. Each line is like the branch of a fruit-tree laden with fruit to the breaking-point. Its Vivid Imagery The second stanza contains some of the most vivid pictures in English poetry. Keats’s pictorial quality is here seen at its best. We will write a custom essay sample on Ode To Autumn or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Autumn is personified and presented to us in the figure of the winnower, â€Å"sitting careless on a granary floor†, the reaper â€Å"on a half-reaped furrow sound asleep†, the gleaner keeping â€Å"steady thy laden head across a brook†, and a spectator watching with patient look a cider-press and the last oozings therefrom. The reaper, the winnower, the gleaner, and the cider-presser symbolise Autumn. These pictures make the poem human and universal because the eternal labours of man are brought before the eyes of the reader. The Poet’s Keen Observation of Nature The third stanza is a collection of the varied sounds of Autumn—the choir of gnats, the bleating of lambs, the singing of crickets, the whistling of red-breasts, and the twittering of swallows. Keats’s interest in small and homely creatures is fully evidenced in these lines. The whole poem demonstrates Keats’s interest in Nature and his keen and minute observation of natural sights and sounds. Keats’s responsiveness and sensitivity to natural phenomena is one of the striking qualities of his poetry. Its Objectivity and its Greek Character The poem is characterised by complete objectivity. The poet keeps himself absolutely out of the picture. Nor docs he express any emotion whether of joy or melancholy. He gives the objects of feeling, not the feeling itself. The poem is written in a calm and serene mood. There is no discontent, no anguish, no bitterness of any kind. There is no philosophy in the poem, no allegory, no inner meaning. We are just brought face to face with â€Å"Nature in all her richness of tint and form†. The poem breathes the spirit of Greek poetry. In fact, it is one of the most Greek compositions by Keats. There is the Greek touch in the personification of Autumn and there is the Greek note in the poet’s impersonal manner of dwelling upon Nature. Felicity of Diction We have here the usual felicity of diction for which Keats is famous. Phrases like â€Å"mellow fruitfulness†, â€Å"maturing sun†, â€Å"hair soft-lifted†, â€Å"barred clouds† which â€Å"bloom the soft-dying day†, â€Å"hilly bourn† are examples of Keats’s happy coinages. Nor is poetic artifice wanting to add beauty to the verse. The alliteration in the following lines is, for instance, noteworthy: To smell the gourd, and plump the hazel shells With a sweet kernel; to set budding more, And still more, later flowers for the bees, Until they think warm days will never cease, For summer has o’er-brimm’d their clammy cells. Several words here contain the same â€Å"z† sound—hazel, shells, flowers, bees, days, cease, cells. The abundance of â€Å"m† sound in these lines is also noteworthy: plump, more, warm, summer, brimni’d clammy. Its Form The rhyme-scheme in this ode is the same (except for a little variation) in all the stanzas each of which consists of 11 lines. Thus it is a â€Å"regular† ode. A Critic’s Comment â€Å"Most satisfying of all the Odes, in thought and expression, is the Ode To Autumn. Most satisfying because, for all the splendour of diction in the others, there are times when the poetic fire dwindles for a moment, whereas in this ode, from its inception to its close, matter and manner are not only superbly blended, but every line carries its noble freight of beauty. The first stanza is a symphony of colour, the second a symphony of movement, the third a symphony of sound. The artist shapes the first and last, and in the midst the man, the thinker, gives us its human significance. Thus is the poem perfected, its sensuous imagery enveloping as it were its vital idea. †