Revision for K218

These are the key points in Learning Guide 1: The children and young people's workforce is large and diverse. Its composition raises some important questions about who works with children and in what sort of organisations. Policy and legislation increasingly vary across the UK as devolution becomes more firmly established. It is important to understand the context most relevant to you, but valuable learning can also be drawn from comparing developments in different contexts and countries. Developing the skill of reflection can enhance your learning from the module and day-to-day practice. †¢What are some of the key professional standards used by practitioners across the UK? †¢What are some of the different ways of understanding children, young people, their families and the services that are provided for them? †¢What knowledge, skills and values are required to support ‘good practice'? These are the key points in Learning Guide 2 There are five key themes, emphas ising theories, frameworks or aspects of working with children young people and families, which will recur throughout the module.Practice can be seen as consisting of three intertwined elements of knowledge, skill and values. What constitutes good or effective practice is complex and open to discussion and debate. Attempting to measure good practice through outcomes can play a role in improving practice with children and families but also has some major limitations. 3 †¢How does social constructionist theory help with our understanding of children and families? †¢How does practice involve relationships between children, young people, families, community and society?How does this change across time? †¢What is a social ecological perspective and how can it help us to understand and develop practice with children, young people and families? These are the key points in Learning Guide 3 An ecological perspective is useful for making sense of the complexities that surround working with children, young people and families. Ecological models can support how we think about practice and how we organise practice – including policy, assessment and collaborative relationships such as multi-agency working.Ecological models are not static; they need to take into consideration changes to people, communities and society across time. 4 †¢What are the different levels that make up a web of relationships? †¢What is social constructionism? †¢How is social constructionism useful in understanding how the lives of children, young people and families are constructed? †¢What are the implications of social constructionism for practice? These are the key points in Learning Guide 4Social constructionist theory argues that understandings of childhood, development and appropriate care for children and young people vary between different historical and geographical/cultural/family contexts Viewing development as a stage-based pathway is strongly embe dded in practice and legislation, with understandings of children and young people often based on their age and perceived developmental stage Development as a stage-based pathway needs to be approached with caution as it has implications for some children and young people who are not easily accommodated within the ‘normative' assumptions of the pathway †¢What are some of the broad ways that power operates, as identified by Foucault?

Native American Art Maria Martinez Essay

Art is defined as â€Å"one such as a painter, sculptor or writer who is able by virtue of imagination and talent or skill to create works of aesthetic value,† Answers. com, thus we define the works of the iconic pottery artist Maria Martinez with her worldly known gift of shaping earth residue to fine ceramic work. Nearing the end of 18th Century, using of plant pigments and powdered mineral residue became a preference method of painting and slowly caused the extinction of glazed pottery , therefore they needed a savior for their over a thousand legendary heritage of pottery was getting to extinction. It was only timely that the birth of the famous Maria Martinez was on this time and the love of pottery as an art was in her blood. Her skill advanced with each pot, and her art began to cause quite a stir among collectors and developed into a business for the black ware pottery. In addition, Maria began experimenting her new models and methods to produce new shapes and decorations. The Life of Maria Martinez It was in the between the year 1881- 1887 that a woman by the name of Reyes Pena and her husband a farmer, carpenter and cowboy Thomas Montanya in a village in San lldefonso, New Mexico, a small community of humble dwellings of the eastern bank of the Rio Grande gave birth to a beautiful girl by the name of Maria Antonia Montanya or famously called by her mother in her Tewa tongue, â€Å"Po-Ve-Ka† meaning â€Å"Pond Lily†. She was the second born of five siblings all girls. Maria Antonia Montanya who was later to be called Maria Martinez grew up watching her mother’s sister Nicolasa Pena roll balls of clay in her moisten hand to make a tall cylinder which she would put in a contour then leveling the finished product with a smooth stone to give it a smooth finishing . She would then dry it and paint it with a variety of clay slips then fire it in a wood fire. By now young Maria would make small crooked bowls and pots on her own. After her education Maria Martinez came back home and perfected her pottery specializing in jars called ollas. In 1904 a young lady of 17 years or so, she fell in love and married an art lover as herself, Julian Pocano Martinez a member of the same village who painted as she crafted pots, and later that evening boarded a train to a world fair in St. Louis, Missouri where they were to demonstrate their arts , Julian showing his custom dancing prowess with other village men while Maria shaped, fired and colored her ceramics. Later they opted on settling in their home village for good. They had same projects sometimes like the excavation headed by Dr. Edgar Lee Hewett and later their work was viewed at the museum. They had four sons and a daughter who died an infant. Maria Martinez continued with pottery even after the death of her husband due to alcoholism. But she respected his memories and used to sign her work with all her names and many are seen with the name of her husband. Her works turned a poor, remote village into a craft center. Education & Awards In between pottery with her aunt and 1896 Maria went to a government grammar school where she received academic education then later joined St. Catharine’s Indian School in Santa Fe, New Mexico. In 1912 Maria discovered her black-on-black technique but it was until 1919 that she and her husband went brave on decorating their wares with the shiny, glossy black look. By 1921 she had perfected the art and it was known widely and admired by many and taught her villagers that’s why by 1925 most of the villagers were molding the same technique. The Museum of Mexico collected much of the pieces for display and by 1930s Maria was financially independent due to the wide show of her work. The year 1934 awards started streaming in Maria’s life, in this year she was the first woman to get a bronze medal for Indian achievement by the Indian fire Council, the University of Colorado and the University of New Mexico were among the four universities that awarded Maria Martinez honorary doctorate degrees. In 1954 the American institute of Architects awarded her the years Craftsmanship Medallion and the French bestowed to her the French Academiques for her contribution to art. As if it wasn’t enough, in1969 she got the Minnesota Museum of Art’s Symbol of Man Award and in 1974 The New Mexico Arts Commission’s First Annual Governor’s Award. Description of Black-on-black Pottery One of the greatest achievements of Maria and Julia Martinez was the invention of the Black-on-black technique in pottery. For many generations, San lldefonso and the neighboring Pueblos made plain black pottery as their main traditional practice but in 1919 this was to change, for Maria and her husband discovered the use of decorations in the glossy black and matte black surfaces. In 1921, the Martinez introduced the skill to their people who were enthusiastic of the change and had fun making this new type of ceramics. They then started selling them and within no time they had attracted the attention of the world on their art. By 1920 it was only natural for the museum of Mexico to collect and display the pieces of the ceramic in their exhibitions, and with this move the town of San lldefonso was a tourist stop and the Native Americans had a model. The rim of the jar ‘olla’ is usually slightly flattened and has an angle at the shoulder which is marked. The rims of the jar created by the Martinez have decorations of continuous paneled bands above the angle of the shoulder. The pots have a smooth, shiny surface which reflects light. The ceramics are decorated using a lighter black band which winds around it. These decorations are manipulated as they appear as scratches on the pots surface. A serpent which has horns and wide eyes wraps the pot and crawls inside the thick light band as part of the decorations . The body movement of the snake appears to be alive which signifies the Pueblo community appreciation of nature and life. The various decorations, gives the final products a unique look and personifies the object. Importance of the Black-on-black technique When the Pueblo people had nearly given up on their ancestral gift of pottery to help them in any way, Maria Martinez gave hope to them when she crafted with affection and feelings and the by product was a piece that was admired by the whole world, which brought change socially and economically to them. Their heritage was restored and they all went back into pottery and out of the village came many more world recognized potters. The world attention turned the lldefenso town into a tourism center thus providing vocation to its people and it was no longer known as a poor village but a village with resources. The new technique appreciated the heritage of the Pueblos. More so, it brought different cultures from all over the world together to appreciate Mother Nature in giving the Pueblos a nice earth where they harvested the soil and for their artistic gift. Artistic Themes Presented In Pottery by Maria Martinez Daily Life In the early years of 1800 pueblo community was undergoing changes in both cultural and traditional practices. Among the changes was the introduction of the cheap Spanish tin wares and Anglo enamelware that were taking the place of their handmade ceramics, the water jars and cooking pots, which were now being sold for a few cents to the tourist who came to their village. That was when Maria Martinez revived the art of pottery making among her people, reconnecting them to their ancestral way of life as they are known for their famous pottery that goes with their words according to Susan Peterson, â€Å"†¦they are their earth and their earth is them you cannot speak of one and forget the other. † (13) Historic Edgar Lee Hewett who knew of Maria Martinez slickness and thinning of her pottery, invited her to help in the excavation of old broken pieces of ancient pottery that were discovered in Puebloan sited on the Pajarito Plateau above San llidefenso . She got interested with the proposal to refurbish the old ceramic that were later displayed in the museum of New Mexico for the world to view the handiwork. Political Within a period of time the work of Maria Martinez was recognized by head of states for several generation and got the privilege to be invited to the white house by: Herbert Hoover, Franklin D. Roosevelt, Dwight Eisenhower and Lyndon B. Johnson. She didn’t pass the recognition of an avid collector of her work John D. Rockefeller, Jr. , who requested her to lay a cornerstone for the Rockefeller Center in New York City. Spiritual Baring the fact that Maria was the most famous of all potters in Pueblo and one of the greatest potters in the world , in her mind she saw herself as just one of the traditional women of San lldefonso who made good pottery. And was quoted by Richard Spivey in His book Maria saying: â€Å"My Mother Earth gave me this luck. So I’m not going to keep it. I take care of our people. † Her belief was seen and proved by the fact that she taught all she could the art of pottery that has been carried with her great and great-great grand children. Process Used To make the Black-on-Black Jar, Creating the black-on-black pottery is a tedious work that requires a lot of skill and patience. According to Susan Peterson of The Living Tradition of Maria Martinez pp164 -174 there are six important steps to be followed. Finding and collecting the clay, which is done in the month of October every year when it is dry and stored in an old weathered adobe structure, where the temperature is constant. The clay is brought into the house, a cloth is laid upon the table, hold a mound of gray pink sand with a hole size of your fist at the center fill it with blue sand of the same amount. Make another hole inside the blue sand but of smaller size now then fill the hole with water. Knead the substance together. Pick within the cloth then wash cover with a towel to prevent the clay from loosing its moisture for it will be there for a day or two. The supporting mold â€Å"a fired clay shape the origin of a new formation† also known as pukis builds the pot base pancake looking kind of base. Squeeze the clay together using your fingers shaping a wall up about an inch high from the pancake base. Make it thick and even by smoothing out the walls by making cross-crossing motions using a gourd rib. To increase the pots height coil long tubes of clay on top of the clay wall then smooth it out using the gourd. To patch air holes put extra clay seal away using the gourd rib. Scrap, sand and polish with stones after the pot is dry, this is the longest step in the whole process. The stones are to be applied to the side of the pot consistently, horizontally, with a rhythimic motion. By rubbing the stone parallel to the pot’s side produces a glossy, polished balanced look. Finally burnish then fire the pottery. After decorating, the pot is finished. Visual Elements in Maria Martinez Pottery Shape – The pot has a shoulder, top, body and a pancake shaped base. â€Å"†¦ The rim of an Olla jar is slightly flattened and has an angle at the shoulder. † (Bunzel 44) Lines – they are also evident in Maria’s pottery like the band under the neck of the pot with the slithering snake nearly biting its tail. â€Å"†¦the band wraps directly below the neck of the pot. † (Bunzel 44) Texture – The pots are known of their glossy, smooth even tone that even reflects light. A stone is used for smoothing the texture of the pot. â€Å"†¦by rubbing the stone parallel to the side of the pot produces a smooth, even look to the pot. † (Bunzel 44) Color – The final process in pottery is decorating the pot by giving it hue and color. The black-on-black technique was loved because it did not only have the deep black color but defined with a light black band. Value –The revival of the ancestral art and innovation of the black-on-black technique added value to the pottery work, thus they are presently sold for several thousand dollars a piece. â€Å":†¦ Since her death her art and that of her family has gotten more collectible and difficult to get. † Sublette J Mark. Principles of Design in Maria Martinez Pottery The principles of design are basically the recipe for a good work of art. The principles combine the elements of artistic placement of the art to produce a good design. For example center of interest, harmony, balance, directional movement, rhythm. Center of interest – The serpent below the neck of the jar attracts your attention the moment you see the pot. The horned big eyed serpent slithers and coils through from side to side nearly biting its tail. The pot is extra soft and glossy due to the technique of black-on-black. Harmony – Maria harmonized her work by putting even thickness in walls and exceptional symmetry. She was known for her skill in polishing and getting a fiery shiny surface on the pot. Her decorative designs worked in harmony with the surfaces and shapes; she rarely repeated her designs except for the special avanyu which was a mythical water serpent. Balance – In making the famous Olla jar the fast and must step was making a pancake like base to stabilize and create balance of the pot. So balance was fundamental for the success of the famous jar. Directional Movement – The decoration of the serpent body slithering round the pot seems alive and gives unique movement from the head of the serpent to the tail back to the head and not getting out of the band which has now taken place for the serpent’s path.

About Machiavellis Way - Free Essay Example

Sample details Pages: 3 Words: 757 Downloads: 3 Date added: 2019/08/12 Category People Essay Level High school Tags: Niccolo Machiavelli Essay Did you like this example? Machiavelli was the product of tempestuous and risky times, personally experiencing the complexities and ruthlessness seemingly essential when he ruled Florence. In line with Machiavelli, the ideal way to rule a principality is by any means necessary; the ruler should be able to oversee absolute moral rules without consequence. The ruler is also deemed to be able to be dishonest, telling the community what it wants to hear while deceiving his people by giving the impression that he is of the purest and most honest beings. When becoming a leader of sorts, in the eyes of Machiavelli, that individual is expected to be fluent in the language of manipulation. For the fearless ruler, the only way to maintain the highest power was by an means necessary; in The Prince, a non-fiction political science work by Machiavelli himself, he tells of how Cesare Borgia, a trusted duke of Machiavelli, lured in the leaders of the Orsini, people who were a threat to the rulers power, offering them money, clothes, and horses to gain their trust, putting them, at [Machiavellis] mercy, then he kills all of them in a significant massacre (pg. 520). In doing so, Machiavelli upheld his ultimate power by way of ruthless actions while also gaining the support of his ruled population as they were enjoying a new prosperity. This reveals that a ruler in the opinion of Machiavelli has to do whatever is essential in order to assert your dominance and influence on the people. Don’t waste time! Our writers will create an original "About Machiavellis Way" essay for you Create order Furthermore, another strength a Machiavellian ruler must possess is the art of lying. While lying makes you seem untrustworthy and dishonorable to the people you are ruling, it is critical that one must be able to accomplish the task by making it seem like you are really telling the truth; being as slick as a fox. The most important part of being untruthful, is that the people being ruled are completely unware of what is occurring. Machiavelli claims that people are devious and will not keep faith with others, therefore faith shouldnt be kept on with them, thus leads to him saying, a wise ruler cannot, and should not keep [their] word when doing so is to [their] disadvantage (pg. 538). Due to this, it is evident the people being ruled will never be satisfied with the truth, therefore one must be deceitful with them in order for the community to keep its peace and continue to run smoothly. Lastly, another component that a ruthless ruler must own is the ability to be feared. In The Prince, the question of ?should one be feared or loved? is alluded to on occasions and the answer almost always depends on the character of the one answering, however in the eyes of Machiavelli, it is crucial for one to be feared by their peers, especially if they are in a position of sovereign. The sense of fear is also the ultimate strength when dealing with other territorial competitors; if one is so ruthless and daunting in the way they rule, it dreads the equals of the ruler due to their worry of a potential conquering. When discussing the probable defeat of one of the territorial competitors due to their negation to give up land in The Prince, Machiavelli states, The subjects can appeal against their exactions to you, their ruler. As a consequence they have more reasons to love you, if they behave themselves, and, if they do not, the more reason to fear you (pg. 511). This makes it evid ent to the reader that Machiavelli thinks a ruler should always take matters into their own hands, never to compromise and never to delegate. As a result, a ruler aspiring to be like Machiavelli, is to get things done in their own way without any fear of repercussions, allowing the people being led to see their ruler is fearless. Due to Machiavelli being the creation of a malicious and violent period of time, his first-hand experience of cruelty gave him to the tools and ideas to become the harsh leader he once was. By imposing fear and hatred amongst his people, he was always feared by many, giving him the success he once obtained. These same factors of manipulation, dishonesty, and fear are what modern Machiavellian leaders tend to possess as well, making their unjust actions are seen as inhumane and wrong. This, however is how Machiavelli rose to power because his actions did not matter to him, as long as they benefitted his reign, giving the prime example of the ends justifying the means.

New Push For Euthanasia Bill - 1669 Words

Newspaper and magazine articles New push for Euthanasia bill – Examiner by Manika Dadson March 14th 2015 This Newspaper article says that to voluntary assisted dying bill will be back on the table later this year. Former premier Lara Giddings said she was still a passionate advocate for voluntary assisted dying. Previously the lower house rejected the bill 13 to 11 in October 2013. Columbia opens its doors to Euthanasia – World mag By Katlyn Babyak posted 7th of July 2015 This magazine article says that Columbian government approved the countries first legal death by Euthanasia. After a long legal battle 79-year-old Ovidio Gonzalez ended his battle with terminal throat cancer. Columbia is the first Latin American country to†¦show more content†¦Using touch alphabet method to communicate she makes her case for voluntary euthanasia. Gina states â€Å"I think a compassionate god would want people to have to option of a humane death† Interviews Questions: 1. Are you religious 2. Do you think people should have a choice to end their life? 3. Are you for or against euthanasia, Explain why or why not 4. What problems do you think would occur if euthanasia were legalised? 5. Would you ever consider euthanasia for yourself? Interview 1 – Skye Baker, 15 years old 1. No, I am not religious 2. I think everyone has a choice over your own life. You don’t live for other people; you affect the way they live. If someone chooses to end their life, no one should have the power to tell them they cannot. 3. I am for euthanasia, but only in certain circumstances. I do not believe that people should have to be left suffering if all they want is peace. 4. There would be many protests because sometimes euthanasia is enforced against the person’s will. This is occasionally classified as murder and murder isn’t a popular topic. 5. Interview 2 – Ben Kirkby 1. No I am not religious 2. Yes, I think a person should have the choice 3. I am for euthanasia because if you want to die you should be able to. Your body your choice 4. I don’t personally think it would be a problem but there is a lot in the media about people taking advantage of it to commit suicide. 5. If I

`` Resume `` By Dorothy Parker - 1662 Words

Dorothy Parker s poem Resume manages the topic of suicide. In spite of the fact that it is a fairly succinct poem it talks about a dull thought in an unexpected tone. She makes the different methods for conferring suicide preferably everyday than what the real demonstration would cause along these lines making a modest representation of the truth. This poem considers the unfortunate existence of Dorothy Parker whose three relational unions fizzled and had imprudently endeavored suicide a few times. There is a stunning visual symbolism evoked by the main line razors pain you . Pictures of blood, passing and misery keep running all through this poem. In the meantime razors accomplish something other than cause torment; which is a†¦show more content†¦The transient agony or dread resume before suicide is sufficient to pick amongst life and passing. The joke on the word continue shows up with the intention as in Resume which expresses one s capabilities and involvement in a rep ort. May and Schultzer said that individuals who execute themselves consider suicide to be the main outstanding answer for their issues. Individuals vary in their capacity to deal with the inconveniences that reason such edgy sentiments. Many think that it is hard to perceive and take care of individual issues in calm and requested way. Analysts May and Schultze trust this failure to adapt might be associated with natural and synthetic uneven characters. (Par.1) A few suicides are the aftereffect of indiscreet choices in light of a circumstance that appears to be miserable such as loss of a vocation, separate, or a separation with one s better half or beau. (May, Schultze Par. 2) These reasons for suicide are not the genuine causes of the suicide. Maybe they are triggers for suicide in a person experiencing an emotional instability. Suicide endeavors activated by real frustrations, for example sentimental dismissal, issues with companions, or coming up short a major exam, are normal among discouraged young people, who have not had the educational experience to understand that these wounds mend with time. (Par. 2) Ninety percent of the general populations who submit suicide have a mental or substance mishandles scatter or both. (May,Show MoreRelatedEssay about Death in Life and Love in Dorothy Parkers Poetry529 Words   |  3 PagesDeath in Life and Love in Dorothy Parkers Poetry Dorothy Parker, an accomplished American poet, exposes the darker side of human behavior through her epigrammatic style of poetry. She believed that a writer must say what he feels and sees. She specialized in the hard truths, particularly about death, in both life and love. 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Complete Course Material free essay sample

MGT 426 Complete Course Material MGT 426 Week 1 DQ 1 Why is change necessary? What about change is disruptive? How can meeting the challenge of change become organizational opportunities? MGT 426 Week 1 DQ 2 Change: what is in it for me? What is the cycle of change? What are some examples of continuous change? What are some examples of discontinuous change? What are some differences between continuous and discontinuous change? MGT 426 Week 1 Individual Assignment Article Review MGT 426 Week 2 DQ 1 What is organizational culture? What is the relationship between shared vision and organizational culture? How does organizational culture affect an organization’s ability to cope with change? MGT 426 Week 2 DQ 2 How does modeling a change process facilitate change? What are the strengths and weaknesses of the three change models? What are some applications of the three change models? MGT 426 Week 2 Individual Assignment Roles of Managers and Individuals Paper MGT 426 Week 2 Learning Team Assignment Managing Change Paper Part I MGT 426 Week 3 DQ 1 Why is it important to do a gap analysis? How do you apply gap analysis to the change models? Give an example of when you may use a gap analysis. We will write a custom essay sample on Complete Course Material or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page MGT 426 Week 3 DQ 2 What are the steps in implementing change? What should you consider when selecting a change implementation model? Explain. MGT 426 Week 3 Individual Assignment Resistance to Change Paper MGT 426 Week 3 Learning Team Assignment Managing Change Paper and Presentation Part II MGT 426 Week 4 DQ 1 How do you measure the progress of change? How do you know change has been institutionalized? How do you determine what changes have occurred? MGT 426 Week 4 DQ 2 What organizational systems are impacted by the cycle of change? Explain. What systems are not as easily impacted by change? Why or why not? MGT 426 Week 4 Individual Assignment Ethics During Change paper MGT 426 Week 4 Learning Team Assignment Managing Change Paper Part III MGT 426 Week 5 DQ 1 What characteristics of a learning organization do you see in your organization? What can your organization do to transform into a learning organization? MGT 426 Week 5 DQ 2 How closely does your organization follow Senge’s five disciplines? Is this useful? Why or why not? MGT 426 Week 5 Individual Assignment Learning Organization Paper MGT 426 Week 5 Learning Team Assignment Managing Change Paper and Presentation Part IV

What do you understand by the term Internet Culture Essay Summary Example For Students

What do you understand by the term Internet Culture? Essay Summary Is the Internet progression manipulated or are you truly disadvantaged if you are not inline with the new codes of conduct in an increasingly electronic culture? After all as a society we have traditionally learned about new technologies and innovations from the more conventional communications media21. Culture is not yet at the advanced development that one would think. Individuals rely heavily on instinctual aspects of communication development. You do not instinctively turn to the Internet to find out what is on television. The tendency is still to turn to newspapers and the television magazines. We will write a custom essay on What do you understand by the term Internet Culture? Summary specifically for you for only $16.38 $13.9/page Order now It is on reviewing this information that you may turn on you television and see a commercial or programme that has provided further information at their website. It is only at this stage that the Have Nots may feel disadvantaged as they may be lacking access to home computing. What has become clear is that society has become more involved with cultural change. Rather than change happening and the individual trying to catch up, it would seem that change is being provoked by the masses and access to new forms of communication is becoming a national agenda. As the Internet becomes more and more mainstream the Have Nots within western society are demanding the access to the media involved with being wired. Home computing is becoming cheaper and with cable and satellite hopping on the interactive bandwagon the line between the information elite and the masses is slowly being erased. However, it is not just having access that invokes knowledge. Society and Culture are slowly pandering to the easy answer to the complexity of computer mediated communication22. The plug in and surf motto of many mainstream computer companies is a message that is as much misleading, as it is misguided. What Internet Culture is heading for is questionable. If the majority of individuals do not understand the common language of communication we will be heading for a Big Brother type scenario were we are at the mercy of the computer programmers who understand the essence of computer programming languages. The future of the information superhighway and Internet Culture should not be based on ease of its use, it should be fundamentally based on thorough understanding, but at this point this concept is not being incited. Howard Rheingold makes this notion a cultural incentive by suggesting: We need a clear citizens vision of the way the Net ought to grow, a firm idea of the kind of media environment we would like to see in the future. If we do not develop such a vision for ourselves, the future will be shaped for us by large commercial and political power holders. 23 Whether or not the future of Internet Culture will be flourishing is inconsequential, however, the question of whether or not the Internet will be public or private is still being decided. Perhaps, what is more important to critically review is the question of whether or not the notion of power and control has already been answered for us, rather than by us. Bibliography Tapscott, Don Growing up Digital, the Rise of the Net Generation, McGraw Hill, 1998 Rheingold, Howard The Electronic Version of the Virtual Community, www. rhiengold. com/vc/book Turkle, Sherri Virtuality and its Discontents Searching for Community in Cyberspace www. prospect. org Turkle, Sherri Who Am We? , Wired Archive 4. 01 January 1996/Features www. wired. com/wired/archive/4. 01/turkle Zwingle, Erla National Geographic, Global Culture, August 1999, Volume 196, No. 2 Ong, Walter Orality and Literacy, The Technologizing of the World Routledge, 1982. .u2d9b596aa078cf9f4f64ddf8bf67736f , .u2d9b596aa078cf9f4f64ddf8bf67736f .postImageUrl , .u2d9b596aa078cf9f4f64ddf8bf67736f .centered-text-area { min-height: 80px; position: relative; } .u2d9b596aa078cf9f4f64ddf8bf67736f , .u2d9b596aa078cf9f4f64ddf8bf67736f:hover , .u2d9b596aa078cf9f4f64ddf8bf67736f:visited , .u2d9b596aa078cf9f4f64ddf8bf67736f:active { border:0!important; } .u2d9b596aa078cf9f4f64ddf8bf67736f .clearfix:after { content: ""; display: table; clear: both; } .u2d9b596aa078cf9f4f64ddf8bf67736f { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u2d9b596aa078cf9f4f64ddf8bf67736f:active , .u2d9b596aa078cf9f4f64ddf8bf67736f:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u2d9b596aa078cf9f4f64ddf8bf67736f .centered-text-area { width: 100%; position: relative ; } .u2d9b596aa078cf9f4f64ddf8bf67736f .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u2d9b596aa078cf9f4f64ddf8bf67736f .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u2d9b596aa078cf9f4f64ddf8bf67736f .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u2d9b596aa078cf9f4f64ddf8bf67736f:hover .ctaButton { background-color: #34495E!important; } .u2d9b596aa078cf9f4f64ddf8bf67736f .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u2d9b596aa078cf9f4f64ddf8bf67736f .u2d9b596aa078cf9f4f64ddf8bf67736f-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u2d9b596aa078cf9f4f64ddf8bf67736f:after { content: ""; display: block; clear: both; } READ: My Agreement Essay ThesisCrowley ; Mitchell Communication Theory Today Polity Press, 1994 Porter, David Internet Culture Routledge, 1997 Slayden et al Soundbite Culture the Death of Discourse in a Wired World Sage, 1999 Jackson, Peter National Geographic, Global Culture, August 1999 Volume 196 No. 2 Williams, Raymond Keywords, A Vocabulary of Culture and Society Fontana Press, 1976 Anderson, Benedict Imagined Communities Verso Books, 1991 1 Jackson, Peter National Geographic, Global Culture, August 1999, Volume 196 No. 2 2 Williams, Raymond Keywords, A Vocabulary of Culture and Society, Fontana Press, 1976. 3 Williams, Raymond Keywords, A Vocabulary of Culture and Society, Fontana Press, 1976 4 Slayden et al Soundbite Culture, the Death of Discourse in a Wired World, Sage, 1999 5 Oral Culture was temporally biased as it favoured time, physical and social stability and oral communication. 6 Ong, Walter Orality and Literacy, The Technologizing of the World, Routledge, 1982 7 Crowley ; Mitchell Communication Theory Today, Polity Press, 1994 8 Ong, Walter Orality and Literacy, The Technologizing of the World, Routledge, 1982. 9 By this I am referring to the Internet and the ability that it has to converge most aspects of traditional communication that include; speech, print, visual images and more recently voice interactive communication. Prior to the Internet we had individual media that allowed individuals to do certain tasks, but not all and not entirely interactively. 10 Porter, David Internet Culture, Routledge, 1997 11 Zwingle, Erla National Geographic, Global Culture, August 1999, Volume 196, No. 2 12 Turkle, Sherri Virtuality and its Discontents: Searching for Community in Cyberspace, www.prospect. org/cgi-bin/printable. cgi 13 I say essential as a majority of people would not be able to function properly without a television, a computer and a wealth of electronic gizmos that they assume make their lives easier, and I do not mean it literally. 14 Rheingold, Howard The Electronic Version of the Virtual Community, www. rhiengold. com/vc/book 15 Surely there must be some repercussions associated with the new -found fluidity of the virtual world and the real world? Where do you draw the line between the real and the virtual? These are all questions that need to be reviewed, as I cannot imagine that the ability to have multiple identities is congruent with a healthy existence. 16 Turkle, Sherri Who Am We? Wired Archive 4. 01 January 1996/Features, www. wired. com/wired/archive/4. 01/turkle 17 Turkle, Sherri Virtuality and its Discontents, searching for Community in Cyberspace, www. prospect. org 18 Rheingold, Howard The Electronic Version of the Virtual Community, www. rhiengold. com/vc/book 19 Anderson, Benedict Imagined Communities, Verso Books, 1991 20 With this I am suggesting that individuals who could not read were subjugated. The elite were the individuals who were educated and subsequently acquired knowledge. Power struggles between the elite and the less fortunate have been historically documented. However the one thing that defines the struggle to achieve power is the mode of communication that is being adopted and configured. 21 Rheingold, Howard The Electronic Version of the Virtual Community, www. rhiengold. com/vc/book 22 Tapscott, Don Growing up Digital, the Rise of the Net Generation, McGraw Hill, 1998 23 Rheingold, Howard The Electronic Version of the Virtual Community, www. rhiengold. com/vc/book.