The 411 on copyright for net p Essay Example For Students

The 411 on copyright for net p Essay Introduction Wow who owns all these pretty pictures? Net Photogs See me, feel me, touch me, pay me. Net Agencies Service with a click of a mouse. Net Publishers All is fair in love, war and publishing. Net Users Free ride! INTRODUCTION If Francesca were alive today she could track her lovers photos from his homepage instead of schlepping to the Piggly Wiggly to purchase the latest National Geographic. Even if you are stuck in Peoria,1 the family can gather around the key board, open up your Happy Meals and view some of the Best Photography in the world. You want pictures? Boy do we have pictures, click onto the Photo Net Index for a inventory of photographers portfolios, galleries, and museums. Who owns the copyrights to all these cool Net photos? This paper presents a sampling of opinions and predictions about the application of copyright law to Net photos in relation to contemporary photographers; stock photo agencies; publishers; and Net users. THE NET PHOTOG ENTREPRENEUR NET ADV ANTAGES Contemporary Photographers are creating homepages to display portfolios on the Net to advertise for jobs, learn new skills, network with colleagues, and provide pleasure to the viewing public. Stacy Rosenstocks portfolio is an example of the excellent photo art available for viewing on the Net. Photographer/author/adventurer Philip Greenspun uses photos to accompany text in Travels With Samantha Mr. Greenspun says that viewer response is one of the rewards for publishing on the Net.2 The Net is a unique medium for photographers, offering one-on-one feedback from viewers, fellow photographers and critics on a scale not available from the typical art gallery or magazine venue. The scale is larger in terms of the number of potential viewers and the boarderless international viewing audience who may choose to browse. A computer savvy photographer may create a homepage portfolio or seek display with one of the on-line galleries such as that Digital Wave Gallery, or that On Line G allery. A photographer choosing the Net as a display venue can also use the net to learn about copyrights. The American Society for media Photographers offers easy to read copyright information in the that Copyright Guide for Photographers . INFRINGEMENT ENFORCEMENT When a photographer discovers a photo has been published without authorization, the photographer maybe able to secure an injunction, recover actual damages and lost profits.3 Mr. Weisgrau and Mr. Remer point out the legal advantage to writing a copyright notice on the photograph consisting of (c)1995 Artists Name.4 That advantage is possible elimination of the innocent infringer defense.5 Innocent infringers may only be liable for a fair licensing fee.6 An order to sue an infringer the copyright holder must register the photo.7 In order to register the photo, the photographer must possess the photo. Traditionally this is not a problem because the photographer would have a negative, or a print or a slide or some tangible object as a photo. If the photographer has scanned the photo onto a home page or provided the photo to a gallery then there would be no problem if the photographer retains the original. See Philip Greenspuns FAQ on photo scanning. Similarly a CD disk photo would also be tangible to register. However when a photographer uses a filmless camera this projects images directly onto a computer for real-time adjustment.8 If a photographer were to upload this kind of photo, some tangible print would still be required for registration.9 The problem of fixation as it relates to photos on the Net will usually arise in the context of whether or not a photograph was copied by an infringer.10 Certain ephemeral artworks like the type produced by Christo, have been the subject of controversy in terms of the fixation requirement for copyright protection.11 In the context of copyright protection for computer programs the Ninth Circuit held in MAI Systems Corp. v. Peak Computer Inc., that copying for p urposes of copyright law occurs when a computer program is transferred from a permanent storage device to a computers RAM random access memory.12 The court described fixation as sufficiently permanent or stable to permit them to be perceived, reproduced, or otherwise communicated for a period of more than transitory duration.13 This decision as it relates to photos on the net may be a practical problem of proof. Net photos, like Christos sculptures, may be here today, gone tomorrow. Consequently the problem will be a whether a copyright claimant will be able to provide a court documentary evidence of the copyrightable subject matter.14 INTERNATIONAL PROTECTION International copyright protection is of special importance to Net photogs. The Berne Convention and the Universal Copyright Convention address copyright in the international market.15 Mr. Cinque outlines the three policies supporting copyright protection: incentive/dissemination; morality/fairness; natural law.16 Incentive/di ssemination is the tradeoff that society benefits from the work of creative artists while the artist may reap economic benefits.17 Morality/fairness is the commercial aspect of rewarding the worker and punishing unauthorized appropriations.18 Natural law embodies the concept that the author owns her work and may do with it as she sees fit.19 Considering these policies, Mr. Cinque argues that under the Berne Convention a copyright may be infringed when a work is copied or stored into a computer system because it is considered a reproduction.20 The Berne Convention provides a minimum of 25 years protection for photographic works and member states may provide additional protection.21 Mr. Cinque presents the case for and against increasing global enforcement of copyright protections in the digital world and concludes that international enforcement is necessary to continue to encourage artists to share work on-line.22 ECONOMIC INCENTIVES Mr. Cinques view supports the widely held assumpti on that artists require broad copyrights with strong enforcement in order to motivate the production of new, copyrightable works. The copyright act is aimed at protecting an artists economic rights.23 Economic theory is based on the concept that individuals are rational, profit-maximizing creatures.24 But economic theory when applied to artists doesnt explain their full range of motivation. It would be difficult to explain why intelligent, presumably rational people ever become artists, a word more often associated with the adjective starving than with wealthy.25 Net photogs appear generous with fellow internetters when it comes to non-commercial use of photographs. On the other hand, no one likes someone else making money of their work. Photographer Philip Greenspun describes his frustration with unauthorized use of his pictures in, The Somewhat Nasty Copyright Notice . As an artist he not only wants to get paid, but desires a certain quality level for his photos. On the other hand , Mr. Greenspun embraces the camaraderie of fellow internetters by authorizing redistribution of his text for non commercial purposes and requesting a source attribution and hyperlink for photos. SHARING RESOURCES The camaraderie among photographers is further evidenced by the wellspring of resources for photographers on the Net. The Michigan Press Photographers Association brings photographers together to share information, as does the Atlanta Photo Journalism Seminar and numerous other resources. One suggestion to assist photographers in protecting copyrights and collecting royalties is a centralized photo bank. Mr. Franklin presents the case for creating a centralized service to license photos, collect and distribute royalties, and engage in license enforcement. 26 The centralized service would include a copyright notice and computer code with the photo in order to track use.27 A similar system was recently established and is called United Image Royalties.28 EMPLOYERS A special n ote to photographers establishing homepages from work. Two authors warn of creating works using an employers Internet connection because work-related products may be determined to be the property of the employer.29 For example, Allen Rose, Ordinary Photographer is employed by the Fort Worth Star-Telegram. Mr. Roses weekly photo series is copyrighted to the newspaper. In a related matter, notice that Mr. Rose chose the location arose rather than something like telestar for his homepage locator. Employees should be careful in choosing web locators so as to avoid trademark problems similar to MTV v. Curry, see Trademarks Along the Infobahn. STOCK PHOTO AGENCIES Many photographers use stock photo agencies to sell photos. News magazines purchase a tremendous amount of published photos from stock agencies.30 For example in 1980 Time purchased 56.88% of their published photos from stock agencies and freelance photographers.31 A traditional stock photo agency publishes catalogues with thumb print photos which customers view and then purchase camera ready prints.32 Stock agencies publicize photos and also negotiate licenses in exchange for royalties.33 See the STOCKPHOTO web site to learn about stock agencies. One advantage of an on-line agency may be the capacity to for customers to download photos immediately. Another advantage to on-line agencies may be enhanced research resources for locating the right kind of photo among the thousands in stock. CONTRACTS When a publisher desires to purchase a photo from a stock agency there may be several contractual arrangements to weave through. These contract issues are determined by state law where as copyright law per se is the subject of federal statutes.34 Contracts may exist between the subject and the photographer, the photographer and the stock agency and perhaps a digital rights agent.35 Mr. Harrang states that a typical stock photo agency contract is a license for one edition only.36 The question of what is one edition has been debated in the context of CD-ROM publications. In this context some argue that an upgrade of the product would be a second edition requiring a re-license fee.37 Harring does not agree with this view and suggests that CD-ROM and on-line publishers can avoid the problem with proper electronic licensing contracts.38 An on-line stock agency such as Corbis Media should be more familiar with structuring proper electronic rights contracts.39 In terms of protecting copyrights while displaying photos on-line, Corbis puts a copyright notice in the upper left-hand corner of the photo.40 This copyright protects the digital file not the actual photo which is copyrighted to the photographer.41 PROTECTING COPYRIGHT WITH TECHNOLOGY Additionally, when a client desires to view a larger image of a photo, the client clicks on the thumbprint photo to access the 6 x 7 inch photo.42 To protect this copyright, Corbis adds a translucent watermark on the picture.43 This method is not full-proof. CEO Doug Rowan admits that the watermark could be eliminated by a technical person and they are working toward technical improvement of the system.44 Unlike other stock agencies, Corbis on-line pictures are for preview only and are not for customer downloading.45 NET PUBLISHERS AND PHOTOJOURNALISTS In Copyright in the New World of Electronic Publishing, See attorney William Strong reassures traditional publishers that copyright law will not be eviscerated by the Net. Copyright is grounded in the Constitution and assures a financial incentive to authors and creative persons.46 Mr. Strong takes the position that in a traditional author contract granting all right, title and interest in and to the work, including copyright grants a publisher broad rights to publish electronically.47 NEW CONTRACTS FOR E-RIGHTS When a publisher drafts new contracts, Mr. Strong recommends that to ensure that a publisher is getting the whole ball of wax that the contract should read the exclusive license to r eproduce the work and distribute it by all means and media now known or hereafter discovered, including, without limitation, print, microfilm, and electronic media as well as the right to display and transmit the work publicly on-line.48 This kind of all rights transaction is not popular among photographers and the American Society of Media Photographers (AMSP). cautions photographers to consider limiting a license by time, geographic area or media type.49 It is interesting to note, that apparently Mr. Strong did not sign such a contract with the publisher of his article, the Journal of Electronic Publishing (JEP) ). The copyright notice indicates that the author, not JEP, controls the copyright, consequently commercial publication is prohibited in print or electronic form without permission of the author. The tension between a publishers desire to license all rights to a photograph, and a photographers concern about giving away too much may gum up negotiations on the electronic pub lishing frontier.50 Mr. Harrang suggests separating legitimate concerns about changing technologies from simple angst about unfamiliar technologies.51 For example, an author may agree to license rights to a CD-ROM publication but hesitate to a license for on-line networks because of metered use questions.52 A resolution to this problem may be by agreement to negotiate a fair royalty amount in the future based on the existing rates.53 For example, Time Inc. is offering an increase in photographers day rate from $400 to $500 per day to compensate for electronic rights for assignment photos.54 Time also offers a royalty option offering a base fee of $75 per image plus a royalty rate that varies depending on a number of factors including English vs. foreign language distribution.55 Terms are to be reviewed in one year.56 About half the photographers have signed the new agreements and the remaining freelancers will continue to negotiate licenses for each photo.57 Time uses the photos in their on-line magazines and other products.58 There is no agreement among the Board members of the American Society of Media Photographers regarding the Time electronics rights policy.59 The value of the rights is hard to assess but ASMP board member Roger Ressmeyer believes that, at issue is the very survival of freelance photography into the next century.60 Veteran photographer Douglas Kirkland sums up the situation well, If there wasnt a substantial value in these rights, Time wouldnt be asking for them.61 On the other end of the spectrum, publisher Conde Nast has refused to pay any additional fees for electronic rights.62 INTERPRETATION OF PRE INTERNET CONTRACTS With regard to pre-Internet contracts, Mr. Strong predicts that where a contract is silent on the issue of electronic publication, the publisher has the right to produce the entire journal in any form including electronic.63 Mr. Strong points to the Copyright Act, in the absence of a written agreement the copyright owner of a contribution to a periodical will be deemed to have given the periodical publisher only the right to reproduce the article as part of the issue of the periodical in which it appears and any revision of that periodical.64 Mr. Strong says, While technically this is not relevant to an interpretation of an actual written contract, I believe it is fair to say that the presumptions which the statute creates here would probably be applied by any court forced to grapple with a contract that was silent on the question of electronic rights.65 The interpretation of old contracts and electronic rights is the subject of controversy between photographers and, TIME Inc. Recently, Time republished some Life cover photos for a CD compilation. Time associate counsel Laury Frieber maintains that the company need not pay the photographers a reuse fee.66 Instead the company sent a letter stating, While as a legal matter we are not obliged to make any additional payments to reproduce our covers, in the spirit of this project we decided to make a payment to all non-staffers whose images graced Lifes cover.67 The letter was accompanied by a $30.00 check.68 Ben Chapnick of the Black Star picture agency disagrees with Times interpretation of the license which he says was for one time use.69 Both Mr. Strong and Mr. Chapnick agree that litigation could take years.70 And Mr. Chapnick predicts in the Time situation, litigation could cost as much as $500,000.71 In any event, says Mr. Strong, each publisher can weigh the financial risks of a copyright violation or breach of contract suit against the gains of electronic publishing.72 Of course an individual photographer is unlikely to have the financial resources to litigate a law suit. HOW ONE PUBLISHER SEEKS TO PROTECT COPYRIGHTED WORKS Michael Rogers managing editor of Newsweek Interactive an on-line publication with Prodigy has integrated the photographs with the text rather than in separate files as a way to combat copyright infrin gement.73 That way, users cant export the pictures for other uses without special software, says Mr.Rogers.74 ALTERATION OF NEWS PHOTOS New on-line technology makes it easier to edit and alter photographs. Visit Digital Imaging photographers and editors can learn new ways to improve and change photographs. But using technology to create art is one thing, using it to doctor news photos is another. Copyright protection for computer art, including photographs is an emerging issue.75 But whereas copyright protection for art photos focuses on the value of the piece as art, the value of a news photo is accuracy.76 The ethics of doctoring news photos 77 is discussed on the Michigan Press Photographers Association (MPPA) home page. This discussion is about the LIFE magazine May, 1995 photo of the Kent State shootings wherein the photo was altered from the original shot by photographer, John Filo on May 4, 1970. The alteration eliminated a pole in the center of the photograph. David Friend, Lifes Director of Photography says it was a done unbeknownst to the editors. MPPA member Brian Masck responds, saying that credibility in the source of a photo is critical to photojournalism. Whether or not photographer John Filo has a cause of action against LIFE for printing the altered photo may be an issue of whether the terms of the print license were exceeded.78 This type of alteration is distinguished from the traditional cropping and centering that a photo editor might do because it is a change in the substance of the photograph. In the future, photographers are advised to safeguard against copyright infringement by including in the license the amount of digital manipulation allowed.79 However, copyright may not be the best or even the only issue regarding authenticity of news photographs.80 Again, the chain of contracts between publisher, photographer, stock agency and photo subject may present legal issues such as false light or misappropriation.81 The news photographer is again advised, to keep original photos to protect against actions like this and to be especially careful if photographing with filmless cameras where a photographer will not possess a negative.82 Alteration of news photos is not a new issue. But new copyright issues pop up in the context of on-line news photo alteration. On the one hand, alterations can be subtle pixel-by-pixel changes that are difficult to detect.83 This capacity makes it easy to steal on-line photos in toto or in part.84 The problem here is a photographers burden of proof as it relates to the ordinary observer approach in proving substantial similarity in an infringement action.85 Photojournalism reviewer Ken Kobre examines The Long Tradition of Doctoring Photos. Mr. Kobre notes that a recent edition of The National Enquirer displayed a doctored photo of a battered Nicole Brown Simpson.86 The Enquirer noted in small type that the photo was a recreation.87 Rather than shying away from the technology and the potent ial abuse of altering on-line news photos, Mr. Kobre believes that increased photographic access assists in the discovery of truth. Totalitarian regimes have been more adept at controlling- and changing what people see precisely because those regimes control their media. 88 In the end, The credibility demanded of journalism should continue to shape its uses of the computers capabilities.89 NET USERS Everyone agrees that Net Users, like most Americans, have little knowledge of copyright law.90 Digital works have some unique characteristics which challenge copyright law.91 Three of those characteristics include ease of replication, transmission, and alteration.92 The Net allows for quick replication and transmission of works as compared to traditional replication methods.93 Modification of Net documents may also provide some challenges to a courts interpretation of fixed.94 POSTING AND DOWNLOADING PHOTOS With regard to replication, transmission and alteration, some Net users behave as if all Net information is up for grabs whether or not the material is copyrighted and has a copyright notice.95 Celebrity fan club postings like the Brad Pitt Web Site are examples of users posting copyrighted photos to the Net. This home page acknowledges that these photos are copyrighted so please be nice. This acknowledgment confirms the Samuelson and Glushko observation that those who post information not authored by them on Internet bulletin boards or in electronic newsletters delivered by Internet sometimes do so with a conspicuous notice that it is being posted without copyright permission, thereby asserting the posters view of an appropriate scope of fair use.96 Furthermore, net users generally regard it as fair to download items from the bulletin board for ones personal use, and even to send a copy to a friend who might otherwise not see the item, it is considered bad manners (or worse) to redistribute more widely someone elses posting without its authors permission.97 It goes without saying that policing user behavior as it relates to copyright is difficult at best.98 ONE PUBLISHERS VIEW OF DOWNLOADING WORKS Recently Time posted Sports Illustrated swimsuit issue photos for personal downloading at the Pathfinder Website that ended up on one of the Supermodel websites. Times legal head Harry Johnston said The restriction is that you can download these pictures for personal use only, but not for further distribution. That would constitute an infringement.99 The idea of policing every single individual who might violate someones copyright has not existed for the last 30 years, with the advent of Xeroxing and videotaping. Its just a fact of life with the technological means we have of making copies. You simply cant catch them all, says Mr. Johnston.100 User liability for copy right infringement in a non commercial context is a disputed issued.101 A user posting someone elses photo to a bulletin board or a homepage raises questions of which fair use provi sion might be appropriate? Education, research, comment or criticism?102 Ms. ORourke predicts that users are infringing where a bulletin board subscriber forwards a document to a large number of non-subscribers.103 But what about home pages? In this context other Net users link to the page. Is the activity of posting Brad Pitt photos to a home page substantially different than uploading Playboy photos to a bulletin board?104 In the Playboy case the court found that a bulletin board operator violated Playboys exclusive rights to display and distribute its photos.105 While home page authors are not charging a subscription fee like the bulletin board operator, they are offering unauthorized, copyrighted photos for public display. In the context of the homepage author, the issue is not that someone is making money off the photo, but that an individual photographer could lose the market for a great photo when someone scans it into a homepage for all the world to access. AN AGENCY VIEW OF POSTING Jim Roehrig, president of Outline photo agency, takes the position that unauthorized posting is a violation of the copyright holders exclusive rights to distribute and publicly display their work.106 Outline represents fashion and celebrity photographers. Roehrig admits to being at a loss as to how to handle supermodels postings.107 Right now Roehrig says, Im hoping that this is relatively small usage and wont become a regular thing.108 THE USERS RIGHT TO VIEW But what about Net users right to view and access information. Copyright law clearly protects the copyright holder. One of the goals of the National Information Infrastructure is free or low cost information.109 The suggestions of the Green Paper drafted by the federal governments Information Infrastructure Task Force are controversial.110 See also a Response to NII. .u99adc1fd354e6bf3467fa3d9bbf666f7 , .u99adc1fd354e6bf3467fa3d9bbf666f7 .postImageUrl , .u99adc1fd354e6bf3467fa3d9bbf666f7 .centered-text-area { min-height: 80px; position: relative; } .u99adc1fd354e6bf3467fa3d9bbf666f7 , .u99adc1fd354e6bf3467fa3d9bbf666f7:hover , .u99adc1fd354e6bf3467fa3d9bbf666f7:visited , .u99adc1fd354e6bf3467fa3d9bbf666f7:active { border:0!important; } .u99adc1fd354e6bf3467fa3d9bbf666f7 .clearfix:after { content: ""; display: table; clear: both; } .u99adc1fd354e6bf3467fa3d9bbf666f7 { 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; } .u99adc1fd354e6bf3467fa3d9bbf666f7:active , .u99adc1fd354e6bf3467fa3d9bbf666f7:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u99adc1fd354e6bf3467fa3d9bbf666f7 .centered-text-area { width: 100%; position: relative ; } .u99adc1fd354e6bf3467fa3d9bbf666f7 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u99adc1fd354e6bf3467fa3d9bbf666f7 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u99adc1fd354e6bf3467fa3d9bbf666f7 .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; } .u99adc1fd354e6bf3467fa3d9bbf666f7:hover .ctaButton { background-color: #34495E!important; } .u99adc1fd354e6bf3467fa3d9bbf666f7 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u99adc1fd354e6bf3467fa3d9bbf666f7 .u99adc1fd354e6bf3467fa3d9bbf666f7-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u99adc1fd354e6bf3467fa3d9bbf666f7:after { content: ""; display: block; clear: both; } READ: Artificial Intelligence Essay We will write a custom essay on The 411 on copyright for net p specifically for you for only $16.38 $13.9/page Order now Ms. Litman says that the draft recommendations would vest in copyrightowners control of any reproduction or transmission of their works, and thendefines reproduction and transmission to include any appearance, even afleeting one, of a protected work in any computer, and any transfer of thatwork to, from, or through any other computer, the Draft Reportsrecommendations would enhance the exclusive rights in the copyright bundle sofar as to give the copyright owner the exclusive right to control reading,viewing or listening to any work in digitized form.

When Do SAT Scores Come Out SAT Score Release Schedule

When Do SAT Scores Come Out SAT Score Release Schedule SAT / ACT Prep Online Guides and Tips The SAT score release dates are always tense for students. Did you get the score you were aiming for? Do you have to take the SAT again? Checking scores immediately when they come out gives you the most time to plan ahead. In this article, find out when you'll receive your SAT score report depending on your test date, and learn the fastest way to check your SAT score. Will your SAT scores be good enough? When your scores come out, it's critical for you to understand whether your scores are good enough. The SAT score that's good enough for you is unique to you, based on your goals. Download our free guide to figuring out your SAT target score. How Long Does It Generally Take to Get Your SAT Scores? SAT scores are typically viewable online starting 13 days after your test date (15 days for Essay scores). SATs are taken on Saturdays, and scores generally come out on the second Friday after your test. (Note that the summer test date in June takes longer than this- about five weeks.) When Do SAT Scores Come Out? Full Schedule The two tables below list every SAT score release date and test date for the 2018-19 and 2019-2020 testing years, as confirmed by the College Board. 2018-19 SAT Score Release Schedule SAT Test Date Multiple-Choice Scores Release Date Essay Score Release Date Colleges Receive Scores By May 4, 2019 May 17, 2019 May 22, 2019 June 1, 2019 June 1, 2019 July 10, 2019 July 12, 2019 July 22, 2019 2019-20 SAT Score Release Schedule SAT Test Date Multiple-Choice Scores Release Date Essay Score Release Date Colleges Receive Scores By August 24, 2019 September 6, 2019 September 9, 2019 September 21, 2019 October 5, 2019 October 18, 2019 October 21, 2019 November 2, 2019 November 2, 2019 November 15, 2019 November 18, 2019 November 30, 2019 December 7, 2019 December 20, 2019 December 23, 2019 January 4, 2020 March 14, 2020 March 27, 2020 March 30, 2020 April 11, 2020 May 2, 2020 May 15, 2020 May 18, 2020 May 30, 2020 June 6, 2020 July 15, 2020 July 15, 2020 July 27, 2020 Colleges generally receive your SAT scores within 10 days of online score release. So if you took the SAT with Essay, you can expect colleges to get your scores within 10 days of getting your Essay score. If you took the SAT without Essay, however, colleges will likely receive your scores a couple days sooner. What if you take the SAT on a school day, though? Here's an overview of when you can expect to get your scores. Once again, all dates have been confirmed by the College Board. SAT School Day Test Date Multiple-Choice Scores Release Date Essay Score Release Date Colleges Receive Scores By October 16, 2019 November 8, 2019 November 11-13, 2019 November 23, 2019 October 30, 2019 November 20, 2019 November 25-27, 2019 December 7, 2019 March 4, 2020 March 26, 2020 March 30-April 1, 2020 April 11, 2020 March 25, 2020 April 16, 2020 April 20-22, 2020 May 2, 2020 April 14, 2020 May 6, 2020 May 8-12, 2020 May 22, 2020 April 28, 2020 May 20, 2020 May 22-26, 2020 June 5, 2020 With school day testing, you'll receive your SAT scores 21-28 days after your test date, and colleges will get your scores within 10 days after that. Have a feeling you'll need to retake the SAT? Download our free guide to improving your SAT score by 160 points. What Time Do SAT Scores Come Out? Scores are released as early as 5 am Eastern Time (or 2 am Pacific Time). However, depending on your account and test date, you might get your scores later in the day. Ultimately, try not to worry too much about exactly when you'll get your score! When Do SAT Scores Get to Schools? If you put down a college as the recipient of one of your four free score reports, that school will get your scores within 10 days of the online release of your complete score report. Additional score reports (those you order more than nine days after you take the SAT) can take one to two weeks to process before they're sent to schools. Colleges get score reports from the College Board once a week, usually on Wednesdays. Scores are sent out by the College Board on a rolling basis as you request them. Students concerned about their scores getting to schools in time can opt for rush reporting. With this option, scores only take two to four business days to process and are delivered to schools three times a week (usually Monday, Wednesday, and Friday). However, the College Board can't send SAT scores to schools until your test has actually been scored, which will be on the first score release date for your test date at the earliest. So what's the takeaway here?Unless you can already view your SAT scores online and have a deadline less than three weeks away, it's probably not worth rushing your SAT scores. How to View SAT Scores The fastest way to get access to your SAT results is online through your College Board account. If you don't have a College Board account, learn how to create one here. To view your SAT scores, sign into your account on the College Board homepage: Next, click on "My SAT" to get to your SAT scores: You'll then be taken to a page with your SAT results for each time you've taken the test: For a more detailed dive into how to get your SAT scores, take a look atour step-by-step guide. Why Does It Take So Long to Get My SAT Score? It might feel as though SAT grading shouldn't take as long as a couple of weeks. But because hundreds of thousands of students take the SAT on each test date, there are a lot of steps involved in order for you to finally get your SAT results. Here's an overview of what happens to your test once you take it: Your test is delivered to the College Board scoring headquarters. Your answer sheet is scanned and your raw score is calculated, based on how many questions you got right or wrong. Your essay (if you took it) is scored by two human graders. Your raw score is then converted to the 1600 scale using that test's scaling rubric. As you're one of many thousands of students taking the SAT, getting everyone's test scores ready within just a few weeks is obviously a big feat! Wouldn't it be great if you could get your score right after the test? This might happen in the future if the test is administered on computers, which is how graduate exams such as the GRE work. SAT Results: 2 Options for Next Steps You now know when SAT scores come out, but what should you do once you have your SAT results? Here a couple of options to consider, depending on your score. Low Score? Retake the SAT If you're unhappy with your SAT results, you might want to consider retaking the test. But whether or not a retake is worth it for you depends on two main factors: your target score and how much you'll be able to improve your score on a second attempt. Your SAT goal score is, in short, determined by the average SAT scores of students at the schools you want to apply to. If your SAT results fall short of your target score, then you might want to retake the test to give yourself a better chance of getting into the schools you've chosen. However, according to data released by the College Board, it's about even odds that if you retake the SAT, your score will either stay the same (10% of students) or drop (35% of students). Therefore, to successfully raise your SAT score on a retake, you'll have to study effectively and for a significant amount of time. For example, spending 10 hours doing a couple of practice tests in-between SATs likely won't be enough to give you a significant score boost. Instead, you'll need to focus on your weak areas and tailor your prep toward those areas in order to see maximum score gains. Overall, if you're willing and able to put in the time and effort to improve your SAT score, it's worth it to retake the SAT. If not, then all you'll be doing is wasting money and four hours on a Saturday morning! Solid Score? Send SAT Score Reports to Colleges If you're satisfied with your SAT results, the next step is to send your scores to the colleges you're applying to. Use our complete list of college codes to make sure your scores get to the right place. What's Next? Ready to retake the SAT but haven't decided on a date yet? Use our continually updated SAT test dates article to see when the next test is being offered. We've also analyzed the best SAT test dates to help you choose the right one for you. How well do you need to do on the SAT to get into college? Find out with our guides to what the average SAT score for college is and the lowest SAT score possible that'll get you into college. When's the latest you can take the SAT to have your score get to colleges by their deadlines? Learn what the last SAT test date for early admissions is as well as how late you can take the SAT if you're applying regular decision. Also, click below to get our popular guide to improve 160 points on your next SAT:

The Geography of Oceania, the Pacific Islands

The Geography of Oceania, the Pacific Islands Oceania is the name of the region consisting of island groups within the Central and South Pacific Ocean. It spans over 3.3 million square miles (8.5 million sq km). Some of the countries included in Oceania are Australia, New Zealand, Tuvalu, Samoa, Tonga, Papua New Guinea, the Solomon Islands, Vanuatu, Fiji, Palau, Micronesia, the Marshall Islands, Kiribati,  and Nauru. Oceania also includes several dependencies and territories such as American Samoa, Johnston Atoll,  and French Polynesia. Physical Geography In terms of its physical geography, the islands of Oceania are often divided into four different sub-regions based on the geologic processes playing a role in their physical development. The first of these is Australia. It is separated because of its location in the middle of the Indo-Australian Plate and the fact that, due to its location, there was no mountain building during its development. Instead, Australias current physical landscape features were formed mainly by erosion. The second landscape category in Oceania is the islands found on the collision boundaries between the Earths crustal plates. These are found specifically in the South Pacific. For example, at the collision boundary between the Indo-Australian and Pacific plates are places like New Zealand, Papua New Guinea,  and the Solomon Islands. The North Pacific portion of Oceania also features these types of landscapes along the Eurasian and Pacific plates. These plate collisions are responsible for the formation of mountains like those in New Zealand, which climb to over 10,000 feet (3,000 m). Volcanic islands such as Fiji are the third category of landscape types found in Oceania. These islands typically rise from the seafloor through hotspots in the Pacific Ocean basin. Most of these areas consist of very small islands with high mountain ranges. Finally, coral reef islands and atolls such as Tuvalu are the last type of landscape found in Oceania. Atolls specifically are responsible for the formation of low-lying land regions, some with enclosed lagoons. Climate Most of Oceania is divided into two climate zones. The first of these is temperate and the second is tropical. Most of Australia and all of New Zealand are within the temperate zone and most of the island areas in the Pacific are considered tropical. Oceanias temperate regions feature high levels of precipitation, cold winters, and warm to hot summers. The tropical regions in Oceania are hot and wet year round. In addition to these climatic zones, most of Oceania is impacted by continuous trade winds and sometimes hurricanes (called tropical cyclones in Oceania) which have historically caused catastrophic damage to countries and islands in the region. Flora and Fauna Because most of Oceania is tropical or temperate, there is an abundant amount of rainfall which produces tropical and temperate rainforests throughout the region. Tropical rainforests are common in some of the island countries located near the tropics, while temperate rainforests are common in New Zealand. In both of these types of forests, there is a plethora of plant and animal species, making Oceania one of the worlds most biodiverse regions. It is important to note, however, that not all of Oceania receives abundant rainfall, and portions of the region are arid or semiarid. Australia, for example, features large areas of arid land which have little vegetation. In addition, El Nià ±o has caused frequent droughts in recent decades in Northern Australia and Papua New Guinea. Oceanias fauna, like its flora, is also extremely biodiverse. Because much of the area consists of islands, unique species of birds, animals,  and insects evolved out of isolation from others. The presence of coral reefs such as the Great Barrier Reef and Kingman Reef also represent large areas of biodiversity and some are considered biodiversity hotspots. Population Most recently in 2018, Oceanias population was around 41 million people, with the majority centered in Australia and New Zealand. Those two countries alone accounted for more than 28 million people, while Papua New Guinea had a population of over 8 million. The remaining population of Oceania is scattered around the various islands making up the region. Urbanization Like its population distribution, urbanization and industrialization also vary in Oceania. 89% of Oceanias urban areas are in Australia and New Zealand and these countries also have the most well-established infrastructure. Australia, in particular, has many raw minerals and energy sources, and manufacturing is a large part of its and Oceanias economy. The rest of Oceania and specifically the Pacific islands are not well developed. Some of the islands have rich natural resources, but the majority do not. In addition, some of the island nations do not even have enough clean drinking water or food to supply to their citizens. Agriculture Agriculture is also important in Oceania and there are three types which are common in the region. These include subsistence agriculture, plantation crops ,  and capital-intensive agriculture. Subsistence agriculture occurs on most of the Pacific islands and is done to support local communities. Cassava, taro, yams, and sweet potatoes are the most common products of this type of agriculture. Plantation crops are planted on the medium tropical islands while capital-intensive agriculture is practiced mainly in Australia and New Zealand. Economy Fishing is a significant source of revenue because many islands have maritime exclusive economic zones that extend for 200 nautical miles and many small islands have granted permission to foreign countries to fish the region via fishing licenses.   Tourism is also important to Oceania because many of the tropical islands like Fiji offer aesthetic beauty, while Australia and New Zealand are modern cities with modern amenities. New Zealand has also become an area centered on the growing field of ecotourism.

Hart-Fuller Debate Essay Example | Topics and Well Written Essays - 3000 words

Hart-Fuller Debate - Essay Example Introduction to Hart’s Concept of Law: Hart in his book addresses three critical issues. The questions which arise from these legal issues are (1) how does law differ from and how is it related to orders backed by threats? (2) How does legal obligation differ from, and how is it related to, moral obligation? (3) What are rules and to what extent is law an affair of rules?1 Laws, Commands and Orders: Hart argues in the first chapter of his book that laws are varieties of imperatives which differ in nature according to the tone of the individual. The acts of human beings to ask someone for help, to request someone for an act, or to order someone to do or to abstain from doing something, which might be backed by threat, or in other case where a man might be coerced to do something are all an indigenous part of the social nomenclature in which the society thrives and survives. Hart argues that law is a social construction backed by history. Law is an institution which always did n ot exist. It emerged for special reasons, and because of those reasons it has taken the form it takes. Law as the Union or Primary and Secondary Rules: Fundamental lawmaking power rests of the customary social rule, and it is through this rule that the sovereign authorises itself to make laws. Hart argued that law is nothing but a social construction of primary and secondary rules. In order to understand the effect of such rules, it is crucial to realise that Hart identified Rules of behaviour and rules of recognition as minimum standards for the existence of a legal system. We shall analyse the understanding of these rules later in the paper, but for now, it is important to draw a distinction to draw a parallel between these two rules and associate them with the primary and secondary rules. Primary rules may be defined as such ruled which guide behaviour of an individual by imposing duties on people, secondary rules provide for identification, change and enforcement of primary rule s. Both these rules are attached to the law of recognition and behaviour and the law works within this social pattern living in the society. Rules are present when there is a certain kind of social practice, regular behaviour together with the set of attitudes known as acceptance.2 Sovereign and Subject: Hart conceptualises that wherever there is a law, there is a sovereign, characterised negatively and positively by reference to the habit of obedience; a person or body of persons whose orders the great majority of the society habitually obey. This is the fundamental relationship between the subject and the sovereign.3 The most basic characteristic of democracy is the uninterrupted continuity of law making power by rules which bridge the transition from one lawgiver to another: these regulate the succession.4 Hart argues that in a sovereign State the laws are made through the acceptance of obedience of the majority of the people. The Constitution is the document which authorises the legislature to make laws for the people, but the legislature is not beyond the law since the power vested in him was granted by the Constitution itself. Therefore, it can be argued that the Constitution is the supreme law of the land and the law making bodies come under the purview of the Constitution. However, the lawmaker is not limited by the Constitution in order to enact laws, and he has the will to be obeyed by the

Industrial relations in the UK Essay Example | Topics and Well Written Essays - 3500 words

Industrial relations in the UK - Essay Example The British state and its role in the industrial relations of the country can be considered as one of the most significant exhibition of the effects of the policies undertaken by the government and applied through the decisions undertaken by the nation. Through the course of history of the country, the past 30 years can be considered as the most significant area of study. This is due to the fact the most noteworthy decisions undertaken by the British government are undertaken during this ear. It can in fact be noted that the past decades comprise the most dynamic period in the country's history (Ackers and Wilkinson 2005). The importance of the past 30 years in the British history specifically in the aspect of the effects of governance and the role of the state with respect to industrial relations. The event that was considered to be the main event that altered and made the greatest impression in the development if the country's economy and industrial relation is during the Trade Union Law in 1979. The said law is related to the development that had occurred in the last 30 years in the industrial relations of country. ... The period prior to the legislation, was the establishment of policies that are unrelated to the legislation. There are even the developments of certain policies that were aimed to improve the industrial relations of the country but on the other hand are unrelated to the role of the state. Upon the attainment of the legislation that works on the role of the state in the improvement of the issues related a renewed phase dawned, the recognition of the role of the British state in the country's industrial relation (Clark, 2000). The realm that set the course of the British state and its role can then be analyze through the events that marked the development in the status and the participants in the industrial sector. The Changes and Developments in the Role of the State The history of the role of the British state regarding the industrial relations can be studied on the basis of the events that happened prior to the 1979 legislation, the contemporary events and situations simultaneous to the commencement of the legislation and the scenario upon the implementation of the altered role of the state. The early part in the history of the British industrial relations can be considered as one of the most difficult and trying stage. This can be related to the age of war during the said period. On the other hand after the war, the development of the alliance between the nations in the Atlantic region became one of the significant factors affecting the industrial relation (Clark, 2000). One of the most significant concepts is the 'Atlanticism' which is also referred to as the Atlantic alliance between the nations in the

Of Mice And Men Characters Essay Example for Free

Of Mice And Men Characters Essay In Of Mice And Men, all the characters have different problems, whether they are physical, mental or personal. Although the two characters who I feel have the most problems are Crooks and George. Crooks, the black stable buck is forever being pick on by the other men at the ranch, mostly because of his colour. In the time in which the book was set, black people in America were thought of as lower than white people. At the ranch, Crooks cannot live in the bunk-house with all the other men, but he has to sleep in the harness room, at the back of the barn. In this room he is surrounded by all the unused horse tack, and therefore has hardly any space for his personal belongings. Crooks is given no privacy, and gets quite cross because he is not allowed to enter the bunk-house but the other men can just walk into his room. In the book he says to Lennie, Youve no right to come into my room, nobody got any right in here but me. After he has talked to Lennie for a while, he starts to enjoy having someone to talk to, because when he is in his room by himself, there is no one he can talk with. I think that he likes talking to Lennie because he realized that Lennie is slow, so Crooks can say what he wants and Lennie will not remember anything. To get the other men back for teasing him, he becomes very sour when they enter his room, and as he passes the other men he ignores them, as a pay back for the names they call him. Although I do feel that Crooks gets extremely lonely. All day long he is on his own, he cannot work because he has a crooked back, from once being kicked by a horse, so he has to stay behind at the ranch and generally look after the place. When he was abused by Curley, he cannot answer back, because Curley is the Boss son, and he knows that if he gets fired, he will probably not get another job because of his disability. The other man who I think has a lot of problems is George. He has to take Lennie with him everywhere, although, Lennie often gets into trouble and this gets George into trouble too. Without Lennie around him George could have such a good life, God almighty, if I was alone I could live so easy. I could get a job and work, an no trouble. No mess at all, and when the end of the month come, I could take my fifty bucks and go into town and get whatever I want. This shows that without Lennie with him, causing trouble, he could keep a good job, and spend his time in the way he wants to, without having to think about anyone else. Although I do think that George likes Lennie, as he is always there to talk to and to share dreams with, they are obviously very close, but George does get annoyed with him, especially because Lennie finds it hard to remember things, such as where they are traveling to. Although he does seem to remember every bad word George says about him. When George talks of the little place theyre going to get, his face lights up and he really enjoys seeing Lennie happy and even though George is stuck with Lennie, he still likes having him there. When George is talking to Slim, in the book, he tries to cover up for Lennies mistakes in Weed, as he knows that Lennie would never hurt anyone on purpose. At the end of the book when George shoots Lennie he knew that he had to kill him. I think that partly the reason for this is because George knows that Lennie will be shot any way, but if he did it, it would be out of love and protection, and not revenge and hatred. George also knows that he cannot go on with Lennie, always running away from some kind of trouble that Lennie has caused, and the incident at the ranch was probably the last straw. Out of the two men described, I think that the person with the most problems is George. In the first part of the book, he always had Lennie with him, making things very difficult for him to have any privacy or time for himself. Lennie prevented him from ever keeping a job, and this often got him into trouble. At the end of the book, when George shot Lennie, he felt awful, because he was killing his best, and probably only friend. George would always live with the memory of Lennie, and the memory of how he shot him. All throughout the book George was telling Lennie that the other guys on these ranches move from place to place, having nobody. Now George would be like these other guys, but before he and Lennie. I think that George has more problems than Crooks, because in America in those times, all black people were treated lower than whites. Crooks cannot help this problem, because wherever he goes, he would receive the same kind of abuse. Another disadvantage Crooks has, is his crooked back, but again, he cannot help this so he did not create the problem. I feel very sorry for George, as he and Lennie have been through so much together, at some times, he wished that he never had to stay with Lennie, but now everything it over for him and he wants Lennie back.

Postmodernism: Myths and Realities Essay -- Postmodernism Philosophy E

Postmodernism: Myths and Realities A number of theorists and scholars have proclaimed that we now live in a postmodern world--a world better explained by theories and concepts different from those of the modern world dating from the Enlightenment and before. The theories and concepts of postmodernism are widely and prominently applied in adult education. So, how do postmodernists characterize postmodernism? What are the critics' critiques? Do proponents and critics agree on anything? Characterizing Postmodernism Discussing postmodernism and continuing education, Leicester (2000) writes that "postmodernism is not a systematic theory or unified movement so much as a loose umbrella term for a perspective" incorporating reactions against "the sovereignty of science, the dominance of 'western traditions' and the assumption of epistemological progress" (p. 73). However, some key features "overlap and criss-cross, appear and disappear in discussions about 'postmodernism' (ibid., p. 74): †¢Plurality of Perspectives. Multiple perspectives, accounts, and theories are respected. Eclectic thinking, drawing on and synthesizing multiple cultural traditions is encouraged. †¢Antiessentialism. A text (be it an individual word, a message, a concept, or any significant structure) has no inherent, essential meaning--no "one thing in common that makes us use the same word and which would give us the essence of the concept" (ibid., p. 74); rather, it is open to multiple interpretations. †¢Antifoundationalism. Truth and knowledge of it are not based on a fixed foundation of objective reality. Instead, truths are located in specific sociocultural contexts, outside of which no vantage point exists. †¢Antiscientism. In particu... ...The Postmodern Perspective on Home Economics History." Journal of Family and Consumer Sciences 92, no. 1 (2000): 81-84. Sokal, A., and Bricmont, J. Fashionable Nonsense: Postmodern Intellectuals' Abuse of Science. New York: Picador USA, 1998. Stufflebeam, D. L. "Conflicts between Standards-Based and Postmodernist Evaluations: Toward Rapprochement." Journal of Personnel Evaluation in Education 12, no. 3 (September 1998): 287-296. Thomas, R. M. "A Glossary of Postmodern Educational Terms." 1997. (ED 410 577) Tisdell, E. "Poststructural Feminist Pedagogies: The Possibilities and Limitations of Feminist Emancipatory Adult Learning Theory and Practice." Adult Education Quarterly 48, no. 3 (Spring 1998): 139-156. Usher, R.; Bryant, I.; and Johnston, R. Adult Education and the Postmodern Challenge: Learning beyond the Limits. New York: Routledge, 1997.

Changes in economical political, legal and social factors Essay

Economic Factors During the economic growth, the automobile industry was also growing, and Ford’s business expanded rapidly, and the demand for their products increased as people could afford luxury goods. During these times, customers could afford more so Ford was bringing out newer more expensive models. During the recession, Ford sold off its subsidiaries to cut its losses. As the customers had less money, they will buy less, so Ford reduced the numbers of cars it was produced. Political Factors The government created a new scheme where people could scrap their old cars for cash, and have money for a new car. This helped Fords make a number of sales in the recession other Political factors that influence the strategic planning of Ford motor since government laws and regulations are concerned with the production of more eco-friendly automobiles. Due to the environmental concerns, the industry has to abide with the regulations aimed at reducing the pollution levels. When the recession ends, Ford’s sales will rise due to people spending their money on luxury goods that don’t affect the environment as badly. Legal Factors In the future, there will be new laws that will raise the minimum wage, which will change many pay schemes of Ford’s employees which will reduce its annual profits and may force it to change its business approach. For example, Ford may have to change its suppliers to cheaper options to combat the losses it will have due to the wage rise. Social Factors If society changed, and driving eco-friendly cars became a global trend, this would mean that Ford would have to design and produce a new model of car to join in on the profits of this trend. The problem with this is that the sales of other Ford models would suffer as they will seem old fashioned and unfriendly on the environment. To combat the losses they will get on their older models, they will cut production levels by a high a percentage of even entirely to stop the losses.

American Literature Essay

When the English preacher and writer Sidney Smith asked in 1820, â€Å"In the four quarters of the globe, who reads an American book? † little did he suspect that less than two hundred years later the answer in literate quarters would be â€Å"just about everyone. † Indeed, just a few years after Smith posed his inflammatory question, the American writer Samuel Knapp would begin to assemble one of the first histories of American literature as part of a lecture series that he was giving. The course materials offered by American Passages continue in the tradition begun by Knapp in 1829. One goal of this Study Guide is to help you learn to be a literary historian: that is, to introduce you to American literature as it has evolved over time and to stimulate you to make connections between and among texts. Like a literary historian, when you make these connections you are telling a story: the story of how American literature came into being. This Overview outlines four paths (there are many others) by which you can narrate the story of American literature: one based on literary movements and historical change, one based on the American Passages Overview Questions, one based on Contexts, and one based on multiculturalism. TELLING THE STORY OF AMERICAN LITERATURE Literary Movements and Historical Change American Passages is organized around sixteen literary movements or â€Å"units. † A literary movement centers around a group of authors that share certain stylistic and thematic concerns. Each unit includes ten authors that are represented either in The Norton Anthology of American Literature or in the Online Archive. Two to four of these authors are discussed in the video, which calls attention to important historical and cultural influences on these authors, defines a genre that they share, and proposes some key thematic parallels. Tracking literary movements can help you see how American literature has changed and evolved over time. In general, people think about literary movements as reacting against earlier modes of writing and earlier movements. For T E L L I N G T H E S T O R Y O F A M E R I C A N L I T E R AT U R E 3 example, just as modernism (Units 10–13) is often seen as a response to realism and the Gilded Age (Unit 9), so Romanticism is seen as a response to the Enlightenment (Unit 4). Most of the units focus on one era (see the chart below), but they will often include relevant authors from other eras to help draw out the connections and differences. (Note: The movements in parentheses are not limited to authors/works from the era in question, but they do cover some material from it. ) Century Fifteenth– Seventeenth Eighteenth Era Renaissance American Passages Literary Movements. (1: Native Voices) 2: Exploring Borderlands 3: Utopian Promise (3: Utopian Promise) 4: Spirit of Nationalism (7: Slavery and Freedom) 4: Spirit of Nationalism 5: Masculine Heroes 6: Gothic Undercurrents 7: Slavery and Freedom (1: Native Voices) 6: Gothic Undercurrents 8: Regional Realism 9: Social Realism (1: Native Voices) 10: Rhythms in Poetry 11: Modernist Portraits 12: Migrant Struggle 13: Southern Renaissance 1: Native Voices 2: Exploring Borderlands 12: Migrant Struggle 14: Becoming Visible 15: Poetry of Liberation 16: Search for Identity Enlightenment Nineteenth Romanticist Nineteenth Realist Twentieth Modernist Twentieth Postmodernist Each unit contains a timeline of historical events along with the dates of key literary texts by the movement’s authors. These timelines are designed to help you make connections between and among the movements, eras, and authors covered in each unit. 4 W H AT I S A M E R I C A N L I T E R AT U R E ? Overview Questions The Overview Questions at the start of each unit are tailored from the five American Passages Overview Questions that follow. They are meant to help you focus your viewing and reading and participate in discussion afterward. 1. What is an American? How does literature create conceptions of the American experience and American identity? This two-part question should trigger discussion about issues such as, Who belongs to America? When and how does one become an American? How has the search for identity among American writers changed over time? It can also encourage discussion about the ways in which immigration, colonization, conquest, youth, race, class, and gender affect national identity. 2. What is American literature? What are the distinctive voices and styles in American literature? How do social and political issues influence the American canon? This multi-part question should instigate discussion about the aesthetics and reception of American literature. What is a masterpiece? When is something considered literature, and how is this category culturally and historically dependent? How has the canon of American literature changed and why? How have American writers used language to create art and meaning? What does literature do? This question can also raise the issue of American exceptionalism: Is American literature different from the literature of other nations? 3. How do place and time shape the authors’ works and our understanding of them? This question addresses America as a location and the many ways in which place impacts American literature’s form and content. It can provoke discussion about how regionalism, geography, immigration, the frontier, and borders impact American literature, as well as the role of the vernacular in indicating place. 4. What characteristics of a literary work have made it influential over time? This question can be used to spark discussion about the evolving impact of various pieces of American literature and about how American writers used language both to create art and respond to and call for change. What is the individual’s responsibility to uphold the community’s traditions, and when are individuals compelled to resist them? What is the relationship between the individual and the community? 5. How are American myths created, challenged, and re-imagined through this literature? This question returns to â€Å"What is an American? † But it poses the question at a cultural rather than individual level. What are the myths that make up American culture? What is the American Dream? What are American myths, dreams, and nightmares? How have these changed over time? T E L L I N G T H E S T O R Y O F A M E R I C A N L I T E R AT U R E 5 Contexts Another way that connections can be made across and between authors is through the five Contexts in each unit: three longer Core Contexts and two shorter Extended Contexts. The goal of the Contexts is both to help you read American literature in its cultural background and to teach you close-reading skills. Each Context consists of a brief narrative about an event, trend, or idea that had particular resonance for the writers in the unit as well as Americans of their era; questions that connect the Context to the authors in the unit; and a list of related texts and images in the Online Archive. Examples of Contexts include discussions of the concept of the Apocalypse (3: â€Å"Utopian Visions†), the sublime (4: â€Å"Spirit of Nationalism†), and baseball (14: â€Å"Becoming Visible†). The Contexts can be used in conjunction with an author or as stand-alone activities. The Slide Show Tool on the Web site is ideal for doing assignments that draw connections between archive items from a Context and a text you have read. And you can create your own contexts and activities using the Slide Show Tool: these materials can then be e-mailed, viewed online, projected, or printed out on overhead transparencies. Multiculturalism In the past twenty years, the field of American literature has undergone a radical transformation. Just as the mainstream public has begun to understand America as more diverse, so, too, have scholars moved to integrate more texts by women and ethnic minorities into the standard canon of literature taught and studied. These changes can be both exhilarating and disconcerting, as the breadth of American literature appears to be almost limitless. Each of the videos and units has been carefully balanced to pair canonical and noncanonical voices. You may find it helpful, however, to trace the development of American literature according to the rise of different ethnic and minority literatures. The following chart is designed to highlight which literatures are represented in the videos and the units. As the chart indicates, we have set different multicultural literatures in dialogue with one another. Literature African American literature Video Representation 7: Slavery and Freedom 8: Regional Realism 10: Rhythms in Poetry 13: Southern Renaissance 14: Becoming Visible 15: Poetry of Liberation Study Guide Representation 4: Spirit of Nationalism 5: Masculine Heroes 7: Slavery and Freedom 8: Regional Realism 9: Social Realism 10: Rhythms in Poetry 11: Modernist Portraits 13: Southern Renaissance 14: Becoming Visible 15: Poetry of Liberation 16: Search for Identity 6 W H AT I S A M E R I C A N L I T E R AT U R E ? Native American literature 1: Native Voices 5: Masculine Heroes 14: Becoming Visible 1: Native Voices 2: Exploring Borderlands 3: Utopian Promise 4: Spirit of Nationalism 5: Masculine Heroes 7: Slavery and Freedom 8: Regional Realism 14: Becoming Visible 15: Poetry of Liberation 16: Search for Identity 2: Exploring Borderlands 5: Masculine Heroes 10: Rhythms in Poetry 12: Migrant Struggle 15: Poetry of Liberation 16: Search for Identity 9: Social Realism 12: Migrant Struggle 16: Search for Identity 9: Social Realism 11: Modernist Portraits 14: Becoming Visible 15: Poetry of Liberation 16: Search for Identity 1: Native Voices 2: Exploring Borderlands 3: Utopian Promise 4: Spirit of Nationalism 5: Masculine Heroes 6: Gothic Undercurrents 7: Slavery and Freedom 8: Regional Realism 9: Social Realism 10: Rhythms in Poetry 11: Modernist Portraits 12: Migrant Struggle 13: Southern Renaissance 14: Becoming Visible 15: Poetry of Liberation 16: Search for Identity 2: Exploring Borderlands 5: Masculine Heroes 10: Rhythms in Poetry 11: Modernist Portraits 12: Migrant Struggle 13: Southern Renaissance 14: Becoming Visible 15: Poetry of Liberation 16: Search for Identity Latino literature 2: Exploring Borderlands 10: Rhythms in Poetry 12: Migrant Struggle 16: Search for Identity Asian American literature 12: Migrant Struggle 16: Search for Identity Jewish American 9: Social Realism literature 11: Modernist Portraits 14: Becoming Visible 15: Poetry of Liberation 16: Search for Identity Women’s literature 1: Native Voices 2: Exploring Borderlands 3: Utopian Promise 6: Gothic Undercurrents 7: Slavery and Freedom 8: Regional Realism 9: Social Realism 11: Modernist Portraits 12: Migrant Struggle 13: Southern Renaissance 15: Poetry of Liberation 16: Search for Identity Gay and lesbian literature 2: Exploring Borderlands 5: Masculine Heroes 10: Rhythms in Poetry 11: Modernist Portraits 15: Poetry of Liberation 16: Search for Identity T E L L I N G T H E S T O R Y O F A M E R I C A N L I T E R AT U R E 7 Literature cont’d Working-class literature Video Representation 2: Exploring Borderlands 4: Spirit of Nationalism 5: Masculine Heroes 7: Slavery and Freedom 9: Social Realism 12: Migrant Struggle 16: Search for Identity Study Guide Representation 2: Exploring Borderlands 4: Spirit of Nationalism 5: Masculine Heroes 7: Slavery and Freedom 9: Social Realism 10: Rhythms in Poetry 12: Migrant Struggle 14: Becoming Visible 15: Poetry of Liberation 16: Search for Identity LITERATURE IN ITS CULTURAL CONTEXT When you study American literature in its cultural context, you enter a multidisciplined and multi-voiced conversation where scholars and critics in different fields examine the same topic but ask very different questions about it. For example, how might a literary critic’s understanding of nineteenthcentury American culture compare to that of a historian of the same era? How can an art historian’s understanding of popular visual metaphors enrich our readings of literature? The materials presented in this section of the Study Guide aim to help you enter that conversation. Below are some suggestions on how to begin. Deep in the heart of the Vatican Museum is an exquisite marble statue from first- or second-century Rome. Over seven feet high, the statue depicts a scene from Virgil’s Aeneid in which Laocoon and his sons are punished for warning the Trojans about the Trojan horse. Their bodies are entwined with large, devouring serpents, and Laocoon’s face is turned upward in a dizzying portrait of anguish, his muscles rippling and bending beneath the snake’s strong coils. The emotion in the statue captured the heart and eye of critic Gotthold Ephraim Lessing, who used the work as the starting point for his seminal essay on the relationship between literature and art, â€Å"Laocoon: An Essay on the Limits of Painting and Poetry. † For Lessing, one of the most common errors that students of culture can make is to assume that all aspects of culture develop in tandem with one another. As Lessing points out, each art has its own strengths. For example, literature works well with notions of time and story, and thus is more flexible than visual art in terms of imaginative freedom, whereas painting is a visual medium that can reach greater beauty, although it is static. For Lessing, the mixing of these two modes (temporal and spatial) carries great risk along with rewards. As you study literature in conjunction with any of the fine arts, you may find it helpful to ask whether you agree with Lessing that literature is primarily a temporal art. Consider too the particular 8 W H AT I S A M E R I C A N L I T E R AT U R E ? strengths of the media discussed below. What do they offer that may not be available to writers? What modes do they use that complement our understanding of the literary arts? Fine Arts Albrecht Durer created some of the most disturbing drawings known to humans: they are rife with images of death, the end of the world, and dark creatures that inhabit hell. Images such as The Last Judgement (below) can be found in the Online Archive. In Knight, Death, and the Devil (1513), a devout Christian knight is taunted by the Devil and Death, who gleefully shakes a quickly depleting hourglass, mocking the soldier with the passing of time. Perhaps the tension and anxiety in Durer’s print resonated with the American poet Randall Jarrell in his struggle with mental illness. In â€Å"The Knight, Death, and the Devil,† Jarrell opens with a description of the scene: Cowhorn-crowned, shockheaded, cornshucked-bearded, Death is a scarecrow—his death’s-head a teetotum . . . Jarrell’s description is filled with adjectives in much the same way that the print is crowded with detail. The poem is an instance of what critics call ekphrasis: the verbal description of a work of visual art, usually of a painting, photograph, or sculpture but sometimes of an urn, tapestry, or quilt. Ekphrasis attempts to bridge the gap between the verbal and the visual arts. Artists and writers have always influenced one another: sometimes directly as in the case of Durer’s drawing and Jarrell’s poem, and other times indirectly. The Study Guide will help you navigate through these webs of influence. For example, Unit 5 will introduce you to the Hudson River [7995] Albrecht Durer, The Last School, the great American landscape painters Judgement (1510), courtesy of the of the nineteenth century. In the Context focusprint collection of Connecticut ing on these artists, you will learn of the interCollege, New London. connectedness of their visual motifs. In Unit 11, William Carlos Williams, whose poems â€Å"The Dance† and â€Å"Landscape with the Fall of Icarus† were inspired by two paintings by Breughel, will draw your attention to the use of ekphrasis. Williams’s work is a significant example of how multiple traditions in art can influence a writer: in addition to his interest in European art, Williams imitated Chinese landscapes and poetic forms. When you encounter works of fine art, such as paintings, photographs, or sculpture, in the Online Archive or the Study Guide, you may find two tools used by art historians helpful: formal analysis and iconography. Formal L I T E R AT U R E I N I T S C U LT U R A L C O N T E X T 9 [3694] Thomas Cole, The Falls of Kaaterskill (1826), courtesy of the Warner Collection of the Gulf States Paper Corporation, Tuscaloosa, Alabama. analysis, like close readings of poems, seeks to describe the nature of the object without reference to the context in which it was created. A formal analysis addresses such questions as Where does the central interest in the work lie? How is the work composed and with what materials? How is lighting or shading used? What does the scene depict? What allusions (mythological, religious, artistic) are found in the work? Once you have described the work of art using formal analysis, you may want to extend your reading by calling attention to the cultural climate in which the work was produced. This is called an iconographic reading. Here the Context sections of the Study Guide will be useful. You may notice, for example, a number of nineteenth-century paintings of ships in the Online Archive. One of the Contexts for Unit 6 argues that these ships can be read as symbols for nineteenth-century America, where it was common to refer to the nation as a â€Å"ship of state. † The glowing light or wrecked hulls in the paintings reflect the artists’ alternating optimism and pessimism about where the young country was headed. Below are two possible readings of Thomas Cole’s painting The Falls of Kaaterskill that employ the tools of formal analysis and iconography. W R I T E R A : F O R M A L A N A L Y S I S In this painting by Hudson River School artist Thomas Cole, the falls that give the painting its name grab our attention. The shock of the white falls against the concentrated brightness of the rocks ensures that the waterfall will be the focus of the work. Even amidst this brightness, however, there is darkness and mystery in the painting, where the falls emerge out of a dark quarry and crash down onto broken tree limbs and staggered rocks. The descent is neither peaceful nor pastoral, unlike the presentation of nature in Cole’s other works, such as the Oxbow. The enormity of the falls compared to the lone human figure that perches above them also adds to the sense of power the falls embody. Barely recognizable as human because it is so minute, the figure still pushes forward as if to embrace the cascade of the water in a painting that explores the tension between the individual and the power of nature. W R I T E R B : I C O N O G R A P H Y I agree with Writer A that this painting is all about the power of nature, but I would argue that it is about a particular kind of power: one that nineteenthcentury thinkers called the â€Å"sublime. † Cole’s portrait of the falls is particularly indebted to the aesthetic ideas formulated by Edmund Burke in the eighteenth century. Burke was interested in categorizing aesthetic responses, and he distinguished the â€Å"sublime† from the â€Å"beautiful. † While the beautiful is calm and harmonious, the sublime is majestic, wild, and even savage. While viewers are soothed by the beautiful, they are overwhelmed, awestruck, and sometimes terrified by the sublime. Often associated with huge, overpowering natural 10 W H AT I S A M E R I C A N L I T E R AT U R E ? phenomena like mountains, waterfalls, or thunderstorms, the â€Å"delightful terror† inspired by sublime visions was supposed to both remind viewers of their own insignificance in the face of nature and divinity and inspire them with a sense of transcendence. Here the miniature figure is the object of our gaze even as he is obliterated by the grandeur of the water. During the nineteenth century, tourists often visited locales such as the Kaaterskill Falls in order to experience the â€Å"delightful terror† that they brought. This experience is also echoed in Ralph Waldo Emerson’s essay â€Å"Nature,† in which he writes of his desire to become a â€Å"transparent eyeball† that will be able to absorb the oversoul that surrounds him. The power that nature holds here is that of the divine: nature is one way we can experience higher realms. How do these readings differ? Which do you find more compelling and why? What uses can you see for formal analysis or iconographic readings? When might you choose one of these strategies over the other? History  As historian Ray Kierstead has pointed out, history is not just â€Å"one damn thing after another†: rather, history is a way of telling stories about time or, some might say, making an argument about time. The Greek historian Herodotus is often called the father of history in the western world, as he was one of the first historians to notice patterns in world events. Herodotus saw that the course of empires followed a cyclical pattern of rise and fall: as one empire reaches its peak and self-destructs out of hubris (excessive pride), a new empire or new nations will be born to take its place. Thomas Cole’s five-part series The Course of Empire (1833) mirrors this Herodotean notion of time as his scene moves from savage, to pastoral, to consummation, to devastation, to desolation. This vision of time has been tremendously influential in literature: whenever you read a work written in the pastoral mode (literature that looks back with nostalgia to an era of rural life, lost simplicity, and a time when nature and culture were one), ask yourself whether there is an implicit optimism or pessimism about what follows this lost rural ideal. For example, in Herman Melville’s South Sea novel Typee, we find the narrator in a Tahitian village. He seeks to determine if he has entered a pastoral or savage setting: is he surrounded by savages, or is he plunged in a pastoral bliss? Implicit in both is a suggestion that there are earlier forms of civilization than the United States that the narrator has left behind. Any structural analysis of a work of literature (an analysis that pays attention to how a work is ordered) would do well to consider what notions of history are embedded within. In addition to the structural significance of history, a dialogue between history and literature is crucial because much of the early literature of the United States can also be categorized as historical documents. It is helpful, therefore, to understand the genres of history. Like literature, history is comprised of different genres, or modes. Historian Elizabeth Boone defines the main traditional genres of history as res gestae, geographical, and annals. Res gestae, or â€Å"deeds done,† organizes history through a list of accomplishments. This was a popu- L I T E R AT U R E I N I T S C U LT U R A L C O N T E X T 11 lar form of history for the ancient Greeks and Romans; for example, the autobiography of Julius Caesar chronicles his deeds, narrated in the third person. When Hernan Cortes and other explorers wrote accounts of their travels (often in the form of letters to the emperor), Caesar’s autobiography served as their model. Geographical histories use travel through space to shape the narrative: Mary Rowlandson’s captivity narrative is an example of a geographical history in that it follows her through a sequence of twenty geographic â€Å"removes† into Indian country and back. Annals, by contrast, use time as the organizing principle. Information is catalogued by year or month. Diaries and journals are a good example of this genre. These three genres can also be found in the histories of the Aztecs and Mayans of Mesoamerica and in those of the native communities of the United States and Canada. For example, the migration legend, a popular indigenous form of history, is a geographical history, whereas trickster tales often tell the early history of the world through a series of deeds. Memoirists also mix genres; for example, the first section of William Bradford’s Of Plimouth Plantation is a geographical history, whereas the second half is annals. Today the most common historical genres are intellectual history (the history of ideas), political history (the story of leaders), and diplomatic history (the history of foreign relations). To these categories we might add the newer categories of â€Å"social history† (a history of everyday life) and â€Å"gender history† (which focuses on the construction of gender roles). Finally, history is a crucial tool for understanding literature because literature is written in—and arguably often reflects—a specific historical context. Readers of literary works can deepen their understanding by drawing on the tools of history, that is, the records people leave behind: political (or literary) documents, town records, census data, newspaper stories, captivity narratives, letters, journals, diaries, and the like. Even such objects as tools, graveyards, or trading goods can tell us important information about the nature of everyday life for a community, how it worshipped or what it thought of the relationship between life and death. 12 W H AT I S A M E R I C A N L I T E R AT U R E ? Material Culture [6332] Archibald Gunn and Richard Felton Outcault, New York Journal’s Colored Comic Supplement (1896), courtesy of the Library of Congress, Prints and Photographs Division [LC-USZC4-25531]. When you look at an object, it may call up associations from the past. For example, for the first-time viewer the clown figure in the image above may seem innocuous, yet at the end of the nineteenth century his popularity was so intense that it started a newspaper war fierce enough to spawn a whole new term for sensationalist, irresponsible journalism—â€Å"yellow journalism. † Objects such as this comic supplement constitute â€Å"material culture,† the objects of everyday life. In Material Culture Studies in America, Thomas Schlereth provides the following useful definition of material culture: Material culture can be considered to be the totality of artifacts in a culture, the vast universe of objects used by humankind to cope with the physical world, to facilitate social intercourse, to delight our fancy, and to create symbols of meaning. . . . Leland Ferguson argues that material culture includes all â€Å"the things that people leave behind . . . all of the things people make from the physical world—farm tools, ceramics, houses, furniture, toys, buttons, roads, cities. † (2) When we study material culture in conjunction with literature, we wed two notions of â€Å"culture† and explore how they relate. As critic John Storey notes, the first notion of culture is what is often called â€Å"high culture†Ã¢â‚¬â€the â€Å"general process of intellectual, spiritual and aesthetic factors†; and the second is â€Å"lived culture†Ã¢â‚¬â€the â€Å"particular way of life, whether of a people, a period or a group† (2). In a sense, material culture (as the objects of a lived culture) allows us to see how the prevailing intellectual ideas were played out in the daily lives of people in a particular era. Thus, as Schlereth explains, through studying material culture we can learn about the â€Å"belief systems—the values, ideas, attitudes, and assumptions—of a particular community or society, usually across time† (3). In reading objects as embedded with meaning, we follow Schlereth’s premise that â€Å"objects made or L I T E R AT U R E I N I T S C U LT U R A L C O N T E X T 13 modified by humans, consciously or unconsciously, directly or indirectly, reflect the belief patterns of individuals who made, commissioned, purchased, or used them, and, by extension, the belief patterns of the larger society of which they are a part† (3). The study of material culture, then, can help us better understand the cultures that produced and consumed the literature we read today. Thomas Schlereth suggests a number of useful models for studying material culture; his â€Å"Art History Paradigm† is particularly noteworthy in that it will help you approach works of â€Å"high art,† such as paintings and sculptures, as well. The â€Å"Art History Paradigm† argues that the interpretive objective of examining the artifact is to â€Å"depict the historical development and intrinsic merit† of it. If you are interested in writing an â€Å"Art History Paradigm† reading of material culture, you might look at an object and ask yourself the following questions, taken from Sylvan Barnet’s Short Guide to Writing about Art. These questions apply to any art object: First, we need to know information about the artifact so we can place it in a historical context. You might ask yourself: 1. 2. 3. 4. 5. What is my first response to the work? When and where was the work made? Where would the work originally have been seen? What purpose did the work serve? In what condition has the work survived? (Barnet 21–22) In addition, if the artifact is a drawing, painting, or advertisement, you might want to ask yourself questions such as these: 1. What is the subject matter? What (if anything) is happening? 2. If the picture is a portrait, how do the furnishings and the background and the angle of the head or the posture of the head and body (as well as the facial expression) contribute to our sense of the subject’s character? 3. If the picture is a still life, does it suggest opulence or want? 4. In a landscape, what is the relation between human beings and nature? Are the figures at ease in nature, or are they dwarfed by it? Are they one with the horizon, or (because the viewpoint is low) do they stand out against the horizon and perhaps seem in touch with the heavens, or at least with open air? If there are woods, are these woods threatening, or are they an inviting place of refuge? If there is a clearing, is the clearing a vulnerable place or is it a place of refuge from ominous woods? Do the natural objects in the landscape somehow reflect the emotions of the figures? (Barnet 22–23; for more questions, see pp. 23–24) Material culture is a rich and varied resource that ranges from kitchen utensils, to advertisements, to farming tools, to clothing. Unpacking the significance of objects that appear in the stories and poems you read may help you better understand characters and their motives. 14 W H AT I S A M E R I C A N L I T E R AT U R E ? Architecture. Most of the time we read the hidden meanings of buildings without even thinking twice. Consider the buildings below: Above: [9089] Anonymous, Capitol Building at Washington, D. C. (1906), courtesy of Prints and Photographs Division, Library of Congress [LC-USZ62-121528]. Right: [6889] Anonymous, Facade of the Sam Wah’s Chinese Laundry (c. 1890 –1900), courtesy of the Denver Public Library. Even if we had never seen either of these buildings before, it would not take us long to determine which was a government building and which was a smalltown retail establishment. Our having seen thousands of buildings enables us to understand the purpose of a building from architectural clues. When first seeing a work of architecture, it is helpful to unpack cultural assumptions. You might ask: 1. What is the purpose of this building? Is it public or private? What activities take place within it? 2. What features of the building reflect this purpose? Which of these features are necessary and which are merely conventional? 3. What buildings or building styles does this building allude to? What values are inherent in that allusion? 4. What parts of this building are principally decorative rather than functional? What does the ornament or lack of it say about the status of the owners or the people who work there? 5. What buildings surround this building? How do they affect the way the building is entered? 6. What types of people live or work in this building? How do they interact within the space? What do these findings say about the relative social status of the occupants? How does the building design restrict or encourage that status? 7. How are people supposed to enter and move through the building? What clues does the building give as to how this movement should take place? L I T E R AT U R E I N I T S C U LT U R A L C O N T E X T 15 These questions imply two basic assumptions about architecture: (1) architecture reflects and helps establish social status and social relations; and (2) architecture

The Searchers essays

The Searchers essays The savage persona, the war paint, the feathers and the beating drums are just some of the stereotypical images and attributes associated with Native American culture. The casting of Native Americans into villainous roles of early film and television has perpetuated a false perception of Native Americans that is still tied to their culture today. For centuries, Native Americans have been defined by stereotypical perceptions of Indian culture. These preconceived notions of Native culture are amplified if not derived from, the racially biased portrayal of Native Americans in the mass media and film throughout history. Though some of the modern depictions of Native Americans today are more positive and historically accurate, Indian culture still carries the stigma of the stereotypes and images established in early film and media Since its release in 1956, John Ford's The Searchers has become one of the most controversial films in Hollywood history. At the center of the controversy is Ethan Edwards, played by John Wayne in what many consider his finest performance. Throughout the film Edwards pursues a band of Indians who killed his brother's family and captured the daughters, one of whom, Debbie (Natalie Wood), is still alive. After marauding Comanches kill his brother's family and kidnap their youngest daughter, bitter, morally ambiguous Civil War veteran Ethan Edwards sets forth on a desperate quest to find his niece, Debbie, and save her from the "savages." In tow, however, he has young Martin Pawley, the adoptive son of the dead family. Though the rest of Ethan's family was able to take Martin in and care for him, regardless of his bloodline, Ethan seems to be able to have no love in his heart for someone who is not completely white. Throughout the film, Ethan degrades Martin not only through his insults, but by trying to stop Martin from coming with him on the search. This can be demonstrated by when Ethan arranges for Martin to...

Analyse the Role and Use of Initial and Diagnostic Assessment in Agreeing Individual Learning Goals

Initial AssessmentAll learners are entitled to undergo a period of initial assessment. Initial assessment is the process of identifying an individual’s learning and support needs to enable the design of an individual learning plan which will provide the structure for their learning. In other words, it determines the learner’s starting point for their learning programme.Learning need are the skills, knowledge and competence which a learner needs to acquire during the course of their learning programme. Support needs are the additional help that a learner requires to enable; them to address barriers which may otherwise prevent them from fulfilling their learning programme. Initial assessment is a critical process because it represents the first stage in the learning cycle. Failure to accurately identify an individual’s learning needs may result in a learning plan and a learning programme, which does not address learning needs. The subsequent evaluation of learning and training is unlikely therefore to show any benefit to the learner. Initial assessment commences at point of entry, from the contact with the prospective leaner and continues until the point that of the individual learning plan is completed. Further learning and support needs will inevitably be identified through the review process and should be reflected in updates to individual learning plans. Initial assessment should take place over a number of days or weeks. It should not be confined to one session. The result from the initial would indicate what level of Maths and English the learner is working towards in which they are be enrolled on.DiagnosticOnce a learner has completed the initial assessment their level has been set. They will then continue to complete a diagnostic. A distinct form of measurement. Its purpose is to ascertain, prior to instruction, each student’s strengths, weaknesses, knowledge, and skills. Establishing these permits the instructor to remediate students and adjust the curriculum to meet each learner’s unique needs. Therefore, gives a more detail breakdown of what the learner would need to improve on to enable them to achieve the current level set. The student should complete a brief essay explaining why it is important to identify and meet the individual needs of learners and how to use initial and diagnostic assessment in agreeing individual learning goals. (350 words minimum).

Computer Supplies for Estate Agents Firm Assignment

Computer Supplies for Estate Agents Firm - Assignment Example Price: 329.98 Celeron D 351J 3.2Ghz Micro Tower casewith front USB/audio (desktop case available on request) Intel D945GCCR motherboard (with on board sound / LAN / video) 512mb PC3200 400MHz DDR2 RAM 80gb Serial ATA2 7200rpm hard disk 52x CD-RW / 16x DVD-ROM combo drive Microsoft Intellipoint mouse Windows PS/2 keyboard Windows XP Home 17" LCD monitor Unit Price: 485.00 Required Units: 4 Sub-total: 1,940.00 Intel Celeron D 356 Processor 3.33GHz, 533MHz FSB, 512MB Cache Genuine MS Windows Vista Basic 512MB DDR RAM 160GB Hard Disk Multi-Format Dual Layer DVD RW Drive Integrated Graphics 6 USB Connections 2 PCI Slot 15" TFT Monitor Unit Price: 329.98 Required Units: 4 Sub-total: 1,319.92 For additional details about the packages, visit the respective links: For Package A: http://www.inf.aber.ac.uk/micros/trading/pentium.asp For Package B: http://www.pcworld.co.uk/martprd/store/pcw_page.jspBV_SessionID=@@@@1763325705.1177871206@@@@&BV_EngineID=ccekaddkkjihglfcflgceggdhhmdgmj.0&page=Product&sku=090877&tabIndex=1 B. 3 Notebook/Laptop (Sales Agents) For the sales agents, laptops provide them portable and handy officemate which they can use to load up their photos. Below are two notebook packages that suite the needs of the sales agents: OPTION A PACKAGE HP 510 Notebook Price: 299.94 OPTION B PACKAGE Aspire 3692WLMi Notebook Price: 367.67 HP (Hewlett-Packard) Processor - Intel Mobile Celeron (1.4 GHz )Processor Screen size 15.4" Memory 512 MB Operating System - Microsoft Windows XP DVD+-RW Dual Layer Combination Drive Ethernet (10/100 Mbps), Wireless Ethernet - 11 Mbps IEEE802.11b, Wireless Ethernet - 54 Mbps IEEE802.11g Video Card - Intel Graphics Media Accelerator 900 Hard disk Capacity - 60GB Unit Price: 299.94 Required Units: 3 Sub-total:...But prior of showing your firm the appropriate tools, the table below is a brief summary of your requirements: As the table shows there are 7 personnel to provide their needs which mean 7 computers (desktops and notebooks) will be provided and additional to it is a web server for the firm's database and website facilities. With the given budget of 30,000.00, our company provides you with the following options below based on your requirements. Note that all prices are VAT inclusive. Since the Managing Director and the 3 Administrative Staff shares some similar tasks in the firm, same Desktop PC units' specification can be applied for both. As provided below, our company provides you with two options to choose. Both works properly and meets the firm's needs but the preferable packages is option B since it is not only cheaper but the speed is higher and the capacity of hard disk space is bigger compared to package A. Package B: http://www.acer.co.uk/acereuro/page4.dosp=page3&dau22.oid=19899&UserCtxParam=0&GroupCtxParam=0&dctx1=17&CountryISOCtxParam=UK&LanguageISOCtxParam=en&ctx3=-1&ctx4=United+Kingdom&crc=4238085392 Printer is an important tool in every office in providing print-out reports, documents, forms, and images. Below is the suggested model and unit for a coloured printer required by the firm.