Maria Montessori Language Arts Rationale Essay Example | Topics and Well Written Essays - 750 words

Maria Montessori Language Arts Rationale - Essay Example A child learns to listen by hearing the various sounds that the adults around him and also learns to speak by imitating the various sounds that the adults make around him.as Maria Montessori said: There are three main areas where children are prepared for reading and writing. The first is physical skills where a child learns to balance using their hands and coordination of the hand and the eye works. The child also learns to concentrate and focus on the practical issues of life, recognizing sizes and shapes, working with paints, crayons, pencils and practice in talking. The second skill that a child learns is the mental skills where the child learns to absorb and how to use language and how to learn the sounds that each letter of the alphabet makes. This can be made easy by playing games to break up words into sounds (Montessori, 2010). The third skills are the social skills where people living in homes sit down and have conversations instead of watching the television or using the computer to learn language. A directress would know that a child is ready to learn a sound if they try to repeat what has been said to them by an adult around them. The child will also be making sounds on their own that they have heard before. Sounds are taught to children by repeating the sounds over and over until the child is able to differentiate it from other sounds. In learning the different sounds, he child is taught the various sounds of the different letters of the alphabet. There are different rules for the letters and children are very receptive towards rules. Therefore, they are first taught the rules than the different sounds of the letters of the alphabet (Montessori, 1909). The child is taught the phonetic words first and once they have mastered the phonetic part of the alphabets, they are next taught the non-phonetic part of the language where there are no rules whatsoever. A child learns to blend sounds by learning the individual

Terrorism - America: Muder Unlimited :: Argumentative Persuasive Topics

America: Muder Unlimited There's been no peace in my lifetime as an American. I don't know if fear of nuclear war had any effect on the Soviet Union but it sure affected me. The background radiation of the Manhattan Project has followed me everywhere. Was I born with post-traumatic stress disorder? No, my mother said I was a happy baby. She must have done a good job distracting me. At least, I didn't notice that I was lving through an endless series of wars. But as a citizen of the United States, I've lived through one war after another. They were not all called wars. In the past twenty years the American military has been involved in Iran, the Philippines, Puerto Rico, Korea, Guatemala, Egypt, Lebanon, Iraq, Panama, Laos, Cambodia, Indonesia, Dominican Republic, Oman, Chile, El Salvador, Nicaragua, Honduras, Libya, Bolivia, Saudi Arabia, Kuwait, Somalia, Yugoslavia, Bosnia, Haiti, Croatia, Zaire, Liberia, Albania, Sudan, Macedonia, Afghanistan, Cuba, and many more. I didn't repeat any countries even though we had repeated engagements with some. I know I have left out some. In January 1961, President/General Eisenhower said, "In the councils of government, we must guard against the acquisition of unwarranted influence, whether sought or unsought, by the military-industrial complex. The potential for the disastrous rise of misplaced power exists and will persist." We were in the Cold War more than 40 years. We have been in a war with Cuba for 39 years and counting. We have been in an ongoing war with Iraq for 10 years. Economists talk about the peacetime expansion of the U.S. economy. There hasn't been a time in my life when the U.S. was not involved in killing people in my name somewhere in the world. Yet this passes for peace. I think this is because U.S. military activity has always been global, mostly out of sight, away from home. Years ago the U.S. government was killing Buddhists in the jungles of Southeast Asia. Now it is killing Muslims in the mountains of Southwest Asia. This is what this "Judeo-Christian" country keeps doing while pledging allegiance to its flag, singing patriotic songs, and invoking its variant of God, a Supreme Being. These things go on simultaneously. The military activity is constant and continuous. That is why the military budget is so large, more than $350 billion this year.

Blood Promise Prologue

Prologue Once when I was in ninth grade, I had to write a paper on a poem. One of the lines was, â€Å"If your eyes weren't open, you wouldn't know the difference between dreaming and waking.† It hadn't meant much to me at the time. After all, there'd been a guy in the class that I liked, so how could I be expected to pay attention to literary analysis? Now, three years later, I understood the poem perfectly. Because lately, my life really did seem like it was on the precipice of being a dream. There were days I thought I'd wake up and discover that recent events in my life hadn't actually happened. Surely I must be a princess in an enchanted sleep. Any day now, this dream-no, nightmare would end, and I'd get my prince and happy ending. But there was no happy ending to be found, at least not in the foreseeable future. And my prince? Well, that was a long story. My prince had been turned into a vampire-a Strigoi, to be specific. In my world, there are two kinds of vampires who exist in secrecy from humans. The Moroi are living vampires, good vampires who wield elemental magic and don't kill when seeking the blood they need to survive. Strigoi are undead vampires, immortal and twisted, who kill when they feed. Moroi are born. Strigoi are made-forcibly or by choice-through evil means. And Dimitri, the guy I loved, had been made a Strigoi against his will. He'd been turned during a battle, an epic rescue mission that I'd been part of as well. Strigoi had kidnapped Moroi and dhampirs from the school I attended, and we'd set out with others to save them. Dhampirs are half vampire and half-human-gifted with human strength and hardiness, and Moroi reflexes and senses. Dhampirs train to become guardians, the elite bodyguards who protect Moroi. That's what I am. That's what Dimitri had been. After his conversion, the rest of the Moroi world had considered him dead. And to a certain extent, he was. Those who were turned Strigoi lost all sense of the goodness and life they'd had before. Even if they hadn't turned by choice, it didn't matter. They would still become evil and cruel, just like all Strigoi. The person they'd been was gone, and honestly, it was easier to imagine them moving on to heaven or the next life than to picture them out stalking the night and taking victims. But I hadn't been able to forget Dimitri, or accept that he was essentially dead. He was the man I loved, the man with whom I'd been so perfectly in sync that it was hard to know where I ended and he began. My heart refused to let him go even if he was technically a monster, he was still out there somewhere. I also hadn't forgotten a conversation he and I had once had. We'd both agreed that we'd rather be dead-truly dead-than walk the world as Strigoi. And once I'd had my mourning time for the goodness he'd lost, I'd decided I had to honor his wishes. Even if he no longer believed in them. I had to find him. I had to kill him and free his soul from that dark, unnatural state. I knew it was what the Dimitri I had loved would have wanted. Killing Strigoi isn't easy, though. They're insanely fast and strong. They have no mercy. I'd killed a number of them already-pretty crazy for someone who was freshly eighteen. And I knew taking on Dimitri would be my greatest challenge, both physically and emotionally. In fact, the emotional consequences had kicked in as soon as I made my decision. Going after Dimitri had meant doing a few life-altering things (and that wasn't even counting the fact that fighting him could very likely result in the loss of my life). I was still in school, only a handful of months away from graduating and becoming a full-fledged guardian. Every day I stuck around at St. Vladimir's Academy-a remote, protected school for Moroi and dhampirs-meant one more day was going by in which Dimitri was still out there, living in the state he'd never wanted. I loved him too much to allow that. So I'd had to leave school early and go out among humans, abandoning the world I'd lived in nearly my entire life. Leaving had also meant abandoning one other thing-or rather, a person: my best friend, Lissa, also known as Vasilisa Dragomir. Lissa was Moroi, the last in a royal line. I'd been slated to be her guardian when we graduated, and my decision to hunt Dimitri had pretty much destroyed that future with her. I'd had no choice but to leave her. Aside from our friendship, Lissa and I had a unique connection. Each Moroi specializes in a type of elemental magic-earth, air, water, or fire. Until recently, we'd believed there were only those four elements. Then we'd discovered a fifth: spirit. That was Lissa's element, and with so few spirit users in the world, we hardly knew anything about it. For the most part, it seemed to be tied to psychic powers. Lissa wielded amazing compulsion-the ability to exert her will on almost anyone. She could also heal, and that's where things got a little strange between us. You see, I technically died in the car accident that killed her family. Lissa had brought me back from the world of the dead without realizing it, creating a psychic bond between us. Ever since then, I was always aware of her presence and thoughts. I could tell what she was thinking and feel when she was in trouble. We had also recently discovered I could see ghosts and spirits who hadn't yet left this world, something I found disconcerting and struggled to block out. The whole phenomenon was called being shadow-kissed. Our shadow-kissed bond made me the ideal choice to protect Lissa, since I would instantly know if she was in trouble. I'd promised to protect her my whole life, but then Dimitri-tall, gorgeous, fierce Dimitri-had changed it all. I'd been faced with that horrible choice: continue to protect Lissa or free Dimitri's soul. Choosing between them had broken my heart, leaving an ache in my chest and tears in my eyes. My parting with Lissa had been agonizing. We'd been best friends since kindergarten, and my departure was a shock for both of us. To be fair, she'd never seen it coming. I'd kept my romance with Dimitri a secret. He was my instructor, seven years older than me, and had been assigned to be her guardian as well. As such, he and I had tried hard to fight our attraction, knowing we had to focus on Lissa more than anything else and that we'd also get in a fair amount of trouble for our student-teacher relationship. But being kept from Dimitri-even though I'd agreed to it-had caused me to build up a lot of unspoken resentment toward Lissa. I probably should have talked to her about it and explained my frustration over having my entire life planned out. It didn't seem fair, somehow, that while Lissa was free to live and love however she wanted, I would always have to sacrifice my own happiness to ensure that she was protected. She was my best friend, though, and I couldn't bear the thought of upsetting her. Lissa was particularly vulnerable because using spirit had the nasty side effect of driving people insane. So I'd sat on my feelings until they finally exploded, and I left the Academy-and her-behind for good. One of the ghosts I'd seen-Mason, a friend who had been killed by Strigoi-had told me Dimitri had returned to his homeland: Siberia. Mason's soul had found peace and left this world shortly thereafter, without giving me any other clues about where in Siberia Dimitri might have gone. So I'd had to set out there blindly, braving a world of humans and a language I didn't know in order to fulfill the promise I'd made to myself. After a few weeks on my own, I had finally made it to Saint Petersburg. I was still looking, still floundering-but determined to find him, even though I dreaded it at the same time. Because if I really did pull this insane plan off, if I actually managed to kill the man I loved, it would mean Dimitri would truly be gone from the world. And I honestly wasn't sure I could go on in a world like that. None of it seems real. Who knows? Maybe it isn't. Maybe it's actually happening to someone else. Maybe it's something I imagined. Maybe soon I'm going to wake up and find everything fixed with Lissa and Dimitri. We'll all be together, and he'll be there to smile and hold me and tell me everything's going to be okay. Maybe all of this really has been a dream. But I don't think so.

Taking The Castle of Otranto as your example, outline the...

Taking The Castle of Otranto as your example, outline the main conventions of the Gothic novel, and show how your knowledge of Taking The Castle of Otranto as your example, outline the main conventions of the Gothic novel, and show how your knowledge of these conventions affects your reading of Northanger Abbey. Is Northanger Abbey most accurately described as parody of the Gothic genre, or is there a more complicated relationship going on? Gothic novels purport to revive old stories and beliefs, exploring personal, psychical encounters with the taboo (Williams, 2000). The genre, as typified by The Castle of Otranto by Horace Walpole, involves a beautiful innocent young woman who is held captive by an older, powerful, evil†¦show more content†¦There are three gothic-like aspects to the novel. The first is the character of the General as gothic villain, patriarch and usurper and the Abbey as his gothic residence; the second is the exploration of the dead mother’s bedroom; and the final incident involves Catherine’s expulsion from the Abbey. Both the latter incidents end in very ordinary, anti-climactic ways, in contrast to gothic stories. The narrator also contrasts other ordinary incidents, with how they might have developed in a gothic novel; for example, Catherine’s journey to Bath is accomplished â€Å"with suitable quietness and uneventful safety. Neither robbers nor tempests befriend them, nor one lucky overturn to introduce them to the hero† (Austen, 1933, p19). Many commentators have concluded that Northanger Abbey is a parody of the Gothic genre. Whether or not one agrees with this view depends on the definition of parody that one accepts. The Penguin Dictionary of Literary Terms Literary Theory offers the following relevant defining concepts: â€Å"The imitative use of the words, style attitude, tone and ideas of an author in such a way as to make them ridiculous. †¦ by exaggerating certain traits. †¦its purpose may be corrective as well as derisive.† Austen undoubtedly imitates Ann Radcliffe’s The Mysteries of Udolpho (1794), in substantial passages, as the influence of other contemporary writers also shows through, but she does so with such