It is true that anyone who cares about a child’s well-being would wish to protect that child from potential harm. If a child were to approach a hot stove, a responsible parent would place him or her at a safe distance from the heat source. Government or special interest groups would not even think to intervene in that scenario. So, why should they arbitrarily decide what is best for my children concerning the books they read?
John Stuart Mill, author of a classic essay entitled On Liberty remarked, “…the peculiar evil of silencing the expression of an opinion is, that it is robbing the human race; posterity as well as the existing generation; those who dissent from the opinion, still more than those who hold it. If the opinion is right, they are deprived of the opportunity of exchanging error for truth: if wrong, they lose, what is almost as great a benefit, the clearer perception and livelier impression of truth, produced by its collision with error.”
According to the A.L.A, the Office of Intellectual Freedom has listed the top three reasons for banning or censoring books:
• the material was considered to be “sexually explicit”
• the material contained “offensive language”
• the material was “unsuited to any age group”
These reasons would certainly warrant due cause for censorship with regard to shielding our children from potential cognitive damage at an early age. The debate concerning this issue is not whether or not literature should be censored; rather the real inquiry determines who has the right to censor the offensive literature.
I would then pose this question with regard to book banning or censorship in America: Should certain literary classics become banned or censored in the U.S. due to content which is considered by members of today’s society to be damaging, offensive, and/or controversial? And does this ultimately violate the author’s 1st amendment rights?
I would like to begin by making the following purely opinion-based assessments:
First, banning or censoring literary works should not be dictated by the governing body or general public. Second, parents and teachers should take personal responsibility in previewing literature that may be potentially cognitively damaging to the children before allowing them to read the material. And finally, without the use of fact-based literature, the realistic portrayal of historical events may not be made available to those who might gain better insight into past lifestyles or events through reading. “Many firsthand accounts of the American Civil War were written by men who had fought in it, but few eyewitnesses give us so keen a sense of actual life on the battlefront as the author of The Red Badge of Courage, Stephen Crane, who was born after the war was over” (Kennedy 3). Although images may be considered damaging and harmful to some, others may wish to educate their children through the use of ‘raw’ truth. Even fictional historically-based novels provide slices of historical fact, which is helpful in developing a clearer picture and a better understanding of eras long past. We often learn from the mistakes made by others in hind-sight. Sometimes history is not at all attractive and is often quite repulsive. However, is there any way to improve upon the mistakes of the past if we are not adequately informed while reviewing the details of those errors? Or maybe we could learn a thing or two from past accomplishments as well. Exactly who has the right to make that determination?
I find particular agreement with the American Library Association as the Library Bill of Rights declares, “Librarians and governing bodies should maintain that parents—and only parents—have the right and the responsibility to restrict the access of their children—and only their children—to library resources.” As a mother of two young children (with a son who is a “literary sponge”), I feel that it is my right and responsibility to take the time to preview the literature that my children plan to read. I may not have the opportunity to read each and every book beforehand, but I can perform my own independent research using reliable resources to consider the content of the text. My determination at that point will be predicated upon my desire to “censor” my children’s literature, not according to some organization, government, or group with which I am not even remotely associated or perhaps may not particularly agree with. With regard to a survey I conducted at the privately owned school where I work, the results depicted a unanymous support for the right of parents and teachers to determine censorship where literature is concerned. Some of the additional comments provided by my co-workers are posted in my previous blog.
Books such as Harry Potter, Gone With the Wind, Tom Sawyer, Huckleberry Finn, The Red Badge of Courage, among many other classic literary works have been challenged by religious organizations and independent groups for years. According to an article by Amanda Cockrell published in the Journal of American Culture, the focus of censorship today has switched from issues regarding sex to the occult. J.K. Rowling, author of the Harry Potter series, has been accused of indoctrinating children using “Satanism and witchcraft” (Cockrell 2006). Should we keep her from writing simply because some individuals or groups dislike the influence of her stories? How many children who previously loathed reading will pick up a Harry Potter book and perhaps gain a new appreciation for a seemingly endangered pastime? What happened to J.K. Rowling’s First Amendment rights? What happened to my right to determine whether or not my children may be exposed to her creative musings? My children are well grounded in religion and I have no concerns whatsoever that due to the writings of J.K. Rowling they will go out and join the occult. Afterall, it is purely fiction!
I would like to locate more evidence to substantiate the opposing argument to this issue as there is seemingly very little to be had. Perhaps there is more to consider regarding the censorship process that I am not privy to or currently aware of. I am open to gaining further insight into the reason behind this ongoing heated debate. I would invite all to issue any response, concerning agreement or disagreement, to my remarks in order to facilitate a continuing provocative debate concerning my topic inquiry.
Works Cited
American Library Association. “About Banned & Challenged Books” 2009. http://www.ala.org/ala/issuesadvocacy/banned/aboutbannedbooks/index.cfm
American Library Association. “Library Bill of Rights” (1996). http://www.ala.org/ala/aboutala/offices/oif/statementspols/statementsif/librarybillrights.cfm
Cockrell, Amanda. “Harry Potter and the Witch Hunters: A Social Context for the Attacks on Harry Potter” The Journal of American Cultures; March 2006.
Kennedy, X.J. and Gioia, Diana. Literature: An Introduction to Fiction, Poetry, Drama, and Writing. New York: Pearson-Longman, 2007. 3
Friday, November 20, 2009
Thursday, November 19, 2009
Blog Entry 22: Freestyle
I am interested to see the results from my upcoming Blog Party assignment. I performed a survey at work this week and found the results to be overwhelmingly one-sided. As I anonymously surveyed the staff at our school, it is evident that we all seem to agree very strongly with regards to the right of parents and teachers to monitor censorship concerning the books our children and students are allowed to read. Here are a few of the comments that were shared by the teaching staff in my survey.
"Isn't censorship a form of Communism? I do not want the government to censor what I can or cannot read."
"Material that is offensive to one person may not be offensive to others. Discretion should be allowed."
"The world's not a perfect place and the more my children are exposed to the realities of life (history), the better prepared they will be. No censorship!"
I thought that at least a few of the individuals I work with might have a differing opinion, especially considering their political views. However, this information supports the fact that the people I associate with in the Private School sector in particular still value our First Amendment rights, preserving freedom of speech. Interesting... ;o)
"Isn't censorship a form of Communism? I do not want the government to censor what I can or cannot read."
"Material that is offensive to one person may not be offensive to others. Discretion should be allowed."
"The world's not a perfect place and the more my children are exposed to the realities of life (history), the better prepared they will be. No censorship!"
I thought that at least a few of the individuals I work with might have a differing opinion, especially considering their political views. However, this information supports the fact that the people I associate with in the Private School sector in particular still value our First Amendment rights, preserving freedom of speech. Interesting... ;o)
Blog Entry 21: Scene Response
It is quite interesting to me how each interpretation of Othello clearly alters the entire mood of the same scene. I will attempt to include the various multiple comparisons that I found along with the contrasting elements that I observed in all three clips.
Othello 1952 began outside by the seashore, but since it was a black & white production I related it to a dull, grey setting. Once Othello and Iago move inside it becomes dank and even darker. The walls are made of hard stone and the room has a hollow echoing sound. Othello is a clearly disturbed, unsure, and stoic man who is dressed in battle armor. Iago is a cunning, predatory, evil-looking man who is not attractive by any measure. Iago is dressed in a dark-looking cape, indicating to the viewer that he is possibly up to sinister deeds. The music in the background provides and enhances the creepy, disturbing atmosphere. The dialogue seems rigid between the characters, as if they are not sure of one another. There is no flashback used. There is substantial use of shadow and darkness. The single item on the wall inside is a mirror, which Othello examines as he begins to realize his mounting rage. Occasional close-ups are used as well in this scene. The dialogue is practically word for word with Shakespeare’s play.
In the 1981 version of this same clip, the scene is starkly altered from the first. It takes place in a well-lit, airy room with a desk, white walls, and a nice tapestry hanging in the background. Othello is a quick-witted and whimsical tease who regularly taunts the more submissive, serious, and polished Iago. Othello is dressed well, but is slightly more casual looking than Iago. There is no background music. The dialogue delivered by Othello is cool in manner while Iago appears clearly nervous and uptight. I noticed that quite a bit of the actual dialogue is skipped over or altered in order to provide a more fluent understanding for the viewer. There is no flashback used in this clip. There is substantial use of close-up, however. There is little, if any, use of shadow. It was a little more understandable to me than the first.
The 1995 version of this scene is a refreshing change from the other two, in my opinion. Othello is painted as a cool, sure, seemingly well-controlled individual. He is clearly of black decent, which lends more validity to the racial implication to which Shakespeare alludes in the play. Iago and Othello are equally outfitted in casual leather attire. Othello wears a vest while Iago wears a less casual overcoat. The scene begins out in a courtyard where the encounter between the two is of a light tone and familiar nature. The conversation soon moves to a darker-looking weapons room where Othello, being somewhat of a personally collected while threatening individual, begins to assemble a weapon. The room itself is intimidating, equipped with hundreds of weapons of all kinds. Iago is more of a physical “touchy” friend to Othello. He is definitely a more familiar, trusting, and honest-looking man than the Iagos used in the previous clips. He has no trouble speaking his mind. The music in the background changes with the altered content of the dialogue. The dialogue is delivered with fluency by both characters as the gestures made while speaking prove helpful in obtaining a clearer understanding of the words. Many of the original words of the play are skipped over. They are perhaps not necessary in order to get the point across. The cinematographer offers a great number of close-ups in this clip. The use of flashback is substantial as well. There is a clearly disturbing atmosphere toward the end as Othello permits his mind to wander and imagines disturbing scenes regarding Desdemona which begin to fuel his anger.
It is quite interesting to me how three movie clips depict this scene using such contrasting methods. The alternative moods and understanding of the dialogue for the viewer is starkly different, yet the overall scene and dialogue are similar. I found it compelling as well that the first two clips use an actor to play the role of Othello who is not obviously of a different race. However, the last clip uses an actor who more accurately fits the role of a Moor, as perhaps intended by Shakespeare.
Othello 1952 began outside by the seashore, but since it was a black & white production I related it to a dull, grey setting. Once Othello and Iago move inside it becomes dank and even darker. The walls are made of hard stone and the room has a hollow echoing sound. Othello is a clearly disturbed, unsure, and stoic man who is dressed in battle armor. Iago is a cunning, predatory, evil-looking man who is not attractive by any measure. Iago is dressed in a dark-looking cape, indicating to the viewer that he is possibly up to sinister deeds. The music in the background provides and enhances the creepy, disturbing atmosphere. The dialogue seems rigid between the characters, as if they are not sure of one another. There is no flashback used. There is substantial use of shadow and darkness. The single item on the wall inside is a mirror, which Othello examines as he begins to realize his mounting rage. Occasional close-ups are used as well in this scene. The dialogue is practically word for word with Shakespeare’s play.
In the 1981 version of this same clip, the scene is starkly altered from the first. It takes place in a well-lit, airy room with a desk, white walls, and a nice tapestry hanging in the background. Othello is a quick-witted and whimsical tease who regularly taunts the more submissive, serious, and polished Iago. Othello is dressed well, but is slightly more casual looking than Iago. There is no background music. The dialogue delivered by Othello is cool in manner while Iago appears clearly nervous and uptight. I noticed that quite a bit of the actual dialogue is skipped over or altered in order to provide a more fluent understanding for the viewer. There is no flashback used in this clip. There is substantial use of close-up, however. There is little, if any, use of shadow. It was a little more understandable to me than the first.
The 1995 version of this scene is a refreshing change from the other two, in my opinion. Othello is painted as a cool, sure, seemingly well-controlled individual. He is clearly of black decent, which lends more validity to the racial implication to which Shakespeare alludes in the play. Iago and Othello are equally outfitted in casual leather attire. Othello wears a vest while Iago wears a less casual overcoat. The scene begins out in a courtyard where the encounter between the two is of a light tone and familiar nature. The conversation soon moves to a darker-looking weapons room where Othello, being somewhat of a personally collected while threatening individual, begins to assemble a weapon. The room itself is intimidating, equipped with hundreds of weapons of all kinds. Iago is more of a physical “touchy” friend to Othello. He is definitely a more familiar, trusting, and honest-looking man than the Iagos used in the previous clips. He has no trouble speaking his mind. The music in the background changes with the altered content of the dialogue. The dialogue is delivered with fluency by both characters as the gestures made while speaking prove helpful in obtaining a clearer understanding of the words. Many of the original words of the play are skipped over. They are perhaps not necessary in order to get the point across. The cinematographer offers a great number of close-ups in this clip. The use of flashback is substantial as well. There is a clearly disturbing atmosphere toward the end as Othello permits his mind to wander and imagines disturbing scenes regarding Desdemona which begin to fuel his anger.
It is quite interesting to me how three movie clips depict this scene using such contrasting methods. The alternative moods and understanding of the dialogue for the viewer is starkly different, yet the overall scene and dialogue are similar. I found it compelling as well that the first two clips use an actor to play the role of Othello who is not obviously of a different race. However, the last clip uses an actor who more accurately fits the role of a Moor, as perhaps intended by Shakespeare.
Monday, November 16, 2009
Blog Entry 21: Quote-Response Othello Act III
Quote:
“Where virtue is, these are more virtuous.
Nor from mine own weak merits will I draw
The smallest fear or doubt of her revolt,
For she had eyes, and chose me” (Shakespeare 987).
Response:
Othello does his best to refute Iago’s claims that his dear wife is less than faithful. He tries to rationalize by reminding himself that he has a weakness concerning jealousy, but that she had a choice among men and she chose him.
The words that captured my attention in this quote were “mine own weak merits” (Othello 987) in which Othello recognizes his own internal weakness, causing him to initially doubt his wife’s fidelity. He seems to be actively looking for a way to prove Desdemona’s innocence when later in this speech he declares, “Away at once with love or jealousy” (Shakespeare 987). Occasions are evident throughout this act in which Othello wrestles aloud with his inclination to resort to jealousy and doubt. He does not wish to believe the heartbreaking revelations he doomed to face.
The importance of this portion of Act III allows the audience to gain sympathy for Othello as he attempts to overcome his jealous tendencies through a series of rationalizations. He is trying; He loves his wife; and he does not wish to remain suspicious of her. The evidence, however, is surmounting and it grieves him to come to the acceptance that Desdemona may not be as faithful as he wholeheartedly wished her to be.
“Where virtue is, these are more virtuous.
Nor from mine own weak merits will I draw
The smallest fear or doubt of her revolt,
For she had eyes, and chose me” (Shakespeare 987).
Response:
Othello does his best to refute Iago’s claims that his dear wife is less than faithful. He tries to rationalize by reminding himself that he has a weakness concerning jealousy, but that she had a choice among men and she chose him.
The words that captured my attention in this quote were “mine own weak merits” (Othello 987) in which Othello recognizes his own internal weakness, causing him to initially doubt his wife’s fidelity. He seems to be actively looking for a way to prove Desdemona’s innocence when later in this speech he declares, “Away at once with love or jealousy” (Shakespeare 987). Occasions are evident throughout this act in which Othello wrestles aloud with his inclination to resort to jealousy and doubt. He does not wish to believe the heartbreaking revelations he doomed to face.
The importance of this portion of Act III allows the audience to gain sympathy for Othello as he attempts to overcome his jealous tendencies through a series of rationalizations. He is trying; He loves his wife; and he does not wish to remain suspicious of her. The evidence, however, is surmounting and it grieves him to come to the acceptance that Desdemona may not be as faithful as he wholeheartedly wished her to be.
Friday, November 13, 2009
Blog Entry 19: Freestyle
I must admit that I am not looking forward to yet another discussion next week in which I have the more difficult side to argue! ;o)
As I read through Othello and perform research regarding who the Moors actually were, particularly concerning their race, I find it difficult to believe that race does not play a large part in Brabantio's objection to the union between Othello and Desdemona. By all other accounts, Othello is a well-respected and successful man who has not particularly even raised an eyebrow-until he married Desdemona. Perhaps if I dig a little deeper and do a bit more research, I can come up with a good argument for the side against racial implications in Othello. I wish myself luck (please wish me luck as well if you are reading this) and bid this blog adieu, for the hour of sleep is soon passing and exhaustion overcometh me! Adieu...adieu...and adieu!
As I read through Othello and perform research regarding who the Moors actually were, particularly concerning their race, I find it difficult to believe that race does not play a large part in Brabantio's objection to the union between Othello and Desdemona. By all other accounts, Othello is a well-respected and successful man who has not particularly even raised an eyebrow-until he married Desdemona. Perhaps if I dig a little deeper and do a bit more research, I can come up with a good argument for the side against racial implications in Othello. I wish myself luck (please wish me luck as well if you are reading this) and bid this blog adieu, for the hour of sleep is soon passing and exhaustion overcometh me! Adieu...adieu...and adieu!
Thursday, November 12, 2009
Blog Entry 18: Quote-Response (Othello I & II)
Quote:
"I do perceive here a divided duty.
To you I am bound for life and education (upbringing);
My life and education both do learn (teach) me
How to respect you. You are the lord of duty (to whom duty is due);
I am hitherto your daughter. But here's my husband,
And so much duty as my mother showed
To you, preferring you before her father,
So much I challenge (claim) that I may profess
Due to the Moor my lord" (Shakespeare 954).
Response:
These are Desdemona's first words, directed toward her father, as she enters the scene where the men are attempting to debate the cause for union between Othello and Desdemona. While Brabantio (Desdemona's father) launches accusations against Othello that he wooed and lured Desdemona through sorcery or magic, Othello references a contrary magical love, fostered by his inspiring tales and Desdemona's intense reaction to them. Desdemona then enters the scene to set the record straight. She observes the escalating conflict between two men, of whom she wishes to remain similarly dutiful. A great deal of her loyalty lies with her father, who raised her and helped her to become the strong and independent thinker that she now recognizes within herself. The greater portion of her loyalty lies with her husband, however, as he now occupies the remaining void in her heart. Desdemona attempts to explain to her father that she is as loyal to her own husband as her mother was to him.
This opening quote by Desdemona is important as it introduces us to a strong, independent, and faithful woman. She obviously commands respect among these men. Otherwise, they would never even consider claims regarding her love for Othello. She is clever enough to cement a pending argument by calling upon a more familiar example. She mentions her own mother, the wife of her father, whose duty is to that of her husband, which is inarguably her proper role as a wife. The words "preferring you before her father" (Shakespeare 954) lay claim to a perfect irrefutable example of a generational duty in a marriage. It is an effective way for Desdemona to leave no room for argument as Brabantio and the other men attempt to thwart possible justification regarding the controversial marriage between Othello and Desdemona.
"I do perceive here a divided duty.
To you I am bound for life and education (upbringing);
My life and education both do learn (teach) me
How to respect you. You are the lord of duty (to whom duty is due);
I am hitherto your daughter. But here's my husband,
And so much duty as my mother showed
To you, preferring you before her father,
So much I challenge (claim) that I may profess
Due to the Moor my lord" (Shakespeare 954).
Response:
These are Desdemona's first words, directed toward her father, as she enters the scene where the men are attempting to debate the cause for union between Othello and Desdemona. While Brabantio (Desdemona's father) launches accusations against Othello that he wooed and lured Desdemona through sorcery or magic, Othello references a contrary magical love, fostered by his inspiring tales and Desdemona's intense reaction to them. Desdemona then enters the scene to set the record straight. She observes the escalating conflict between two men, of whom she wishes to remain similarly dutiful. A great deal of her loyalty lies with her father, who raised her and helped her to become the strong and independent thinker that she now recognizes within herself. The greater portion of her loyalty lies with her husband, however, as he now occupies the remaining void in her heart. Desdemona attempts to explain to her father that she is as loyal to her own husband as her mother was to him.
This opening quote by Desdemona is important as it introduces us to a strong, independent, and faithful woman. She obviously commands respect among these men. Otherwise, they would never even consider claims regarding her love for Othello. She is clever enough to cement a pending argument by calling upon a more familiar example. She mentions her own mother, the wife of her father, whose duty is to that of her husband, which is inarguably her proper role as a wife. The words "preferring you before her father" (Shakespeare 954) lay claim to a perfect irrefutable example of a generational duty in a marriage. It is an effective way for Desdemona to leave no room for argument as Brabantio and the other men attempt to thwart possible justification regarding the controversial marriage between Othello and Desdemona.
Wednesday, November 11, 2009
Blog Entry 17: Quote-Response on "Trifles"
Quote:
"Mrs. Hale: [Examining another block.] Mrs. Peters, look at this one. Here is the one she was working on, and look at the sewing! All the rest of it has been so nice and even. And look at this! It's all over the place! Why, it looks as if she didn't know what she was about" (Glaspell 837).
Response:
As Mrs. Peters and Mrs. Hale attempt to disassociate Mrs. Wright from any possible implication of murder, they both begin to realize at this point (as only women would) that Mrs. Wright has recently become preoccupied and distressed. The first awareness that perhaps Mrs. Wright is not as innocent as they would like to believe becomes evident in the erratic stitching found in her quilting style. As the men continue to bathe in self-importance, searching for obvious clues, the women are able to find the most provocative clue while solving the case right under the men's noses.
The cleverness of women in the day of Susan Glaspell was not only unrecognized, but unwelcome by men. The words, "...she didn't know what she was about" (Glaspell 837), stand out to suggest an irrefutable empathy shared by the women. Both women, through silent recognition, conclude and acknowledge that when a woman is under stress, it can be abundantly apparent in her stitching. I was quite taken with the loyalty these women display for one another as they attempt to offer unuttered justification for one of their own kind, even though her crime may have been heinous and unacceptable by man's laws.
"Mrs. Hale: [Examining another block.] Mrs. Peters, look at this one. Here is the one she was working on, and look at the sewing! All the rest of it has been so nice and even. And look at this! It's all over the place! Why, it looks as if she didn't know what she was about" (Glaspell 837).
Response:
As Mrs. Peters and Mrs. Hale attempt to disassociate Mrs. Wright from any possible implication of murder, they both begin to realize at this point (as only women would) that Mrs. Wright has recently become preoccupied and distressed. The first awareness that perhaps Mrs. Wright is not as innocent as they would like to believe becomes evident in the erratic stitching found in her quilting style. As the men continue to bathe in self-importance, searching for obvious clues, the women are able to find the most provocative clue while solving the case right under the men's noses.
The cleverness of women in the day of Susan Glaspell was not only unrecognized, but unwelcome by men. The words, "...she didn't know what she was about" (Glaspell 837), stand out to suggest an irrefutable empathy shared by the women. Both women, through silent recognition, conclude and acknowledge that when a woman is under stress, it can be abundantly apparent in her stitching. I was quite taken with the loyalty these women display for one another as they attempt to offer unuttered justification for one of their own kind, even though her crime may have been heinous and unacceptable by man's laws.
Tuesday, November 10, 2009
Blog Entry 16: Scene-Response
The scene I selected from the movie, O, which I found to be profoundly effective in establishing a turning point in the film is scene 14; the Dunk Contest. Prior to this scene Odin has been slowly coerced by Hugo into believing, through a series of deceptive set-ups, that his girlfriend, Desi, was cheating on him with his best friend. Rage, jealousy, and anger escalate, reaching a boiling point which becomes inarguably evident in this scene.
There is very little dialogue in the Dunk Contest scene; simply the essence of all-consuming anger in Odin’s facial expressions and body language. He demonstrates disturbing behavior, which is completely out of character for Odin, especially to those who know him well. He stares down those in the audience who have offended him as he dribbles the basketball over and over, fixed on the hoop which is about to meet its demise.
Some of the film techniques that are apparent in this scene are the use of slow motion follow shots, using a crane camera for high-angle shots paired with alternating close-up, medium, and wide shots to highlight the brewing conflict. They are used to ensure the viewer’s unyielding attention while following Odin’s every move and fixed expression in great detail. Panning back and forth from Odin to his friends in the audience allows the viewer to become part of the moment through the use of cross-cutting, which shows the concern, emotional connection, conflict, and disturbance taking place between the characters. Odin has been suddenly transformed into a stranger to those who know and love him. He has slipped back into a role as the “boy from the hood,” who trusts no one and once again tucks his emotions deep inside.
The importance of this scene is to establish a point of no return in the tragedy which is about to unfold. Odin no longer cares about the consequences ahead as jealousy consumes his entire being. The viewer recognizes at this point that the tragic events expected to befall the primary characters are imminent. I found myself riveted by the intensity with which this was portrayed. Watching this scene, I concluded that Odin perhaps has demons that still haunt him from his past, demons that he obviously cannot control once jealousy rears its ugly head.
There is very little dialogue in the Dunk Contest scene; simply the essence of all-consuming anger in Odin’s facial expressions and body language. He demonstrates disturbing behavior, which is completely out of character for Odin, especially to those who know him well. He stares down those in the audience who have offended him as he dribbles the basketball over and over, fixed on the hoop which is about to meet its demise.
Some of the film techniques that are apparent in this scene are the use of slow motion follow shots, using a crane camera for high-angle shots paired with alternating close-up, medium, and wide shots to highlight the brewing conflict. They are used to ensure the viewer’s unyielding attention while following Odin’s every move and fixed expression in great detail. Panning back and forth from Odin to his friends in the audience allows the viewer to become part of the moment through the use of cross-cutting, which shows the concern, emotional connection, conflict, and disturbance taking place between the characters. Odin has been suddenly transformed into a stranger to those who know and love him. He has slipped back into a role as the “boy from the hood,” who trusts no one and once again tucks his emotions deep inside.
The importance of this scene is to establish a point of no return in the tragedy which is about to unfold. Odin no longer cares about the consequences ahead as jealousy consumes his entire being. The viewer recognizes at this point that the tragic events expected to befall the primary characters are imminent. I found myself riveted by the intensity with which this was portrayed. Watching this scene, I concluded that Odin perhaps has demons that still haunt him from his past, demons that he obviously cannot control once jealousy rears its ugly head.
Wednesday, November 4, 2009
Blog Entry 15: Freestyle
By "freestyle" I hope this means "anything goes." So, here goes...
The issues clouding my mind this week create an enormous weight on my heart as well. Working with children gives me a glimpse into future American educational contention which should generate cause for concern.
Reading was once a primary element in the daily school curriculum. It took precedence over any other subject; Reading, Writing, and Arithmetic were referred to as the three fundamental subjects. Reading was always listed first, and for good reason. Those who did not attend school and could not read were generally NOT considered prime candidates for employment. Illiterate people were often forced to perform grueling manual labor and were not typically paid well. Sometimes their families starved and frequently lived in squalor.
It was fortunate for Americans that our government became abundantly aware of this issue and instituted radical changes in educational priorities. Better funding was available to schools. Soon, education was available to all children. The number of illiterate Americans dropped dramatically and our country established a reputation as a great leader in education.
Unfortunately, public education has recently taken a back seat to political priorities and excessive unnecessary government spending. Classrooms in public schools are often overcrowded, educators waste vast amounts of time on government mandated student assessments and are forced to "teach to the test," and essential learning programs have been cut in many public schools. The number of illiterate children in the U.S. has slowly begun to rise again as a result. "According to the National Adult Literacy Survey, 42 million adult Americans can't read; 50 million can recognize so few printed words they are limited to a 4th or 5th grade reading level; one out of every four teenagers drops out of high school, and of those who graduate, one out of every four has the equivalent or less of an eighth grade education" (Sweet, Jr., 1996).
Are we doomed to repeat past? Doesn't anyone see this coming? Do our children deserve substandard education for the sake of irresponsible government spending? Can the U.S. afford to be illiterate? Those are questions to ponder and lend serious consideration to, especially as we teeter on the brink of eventual financial disaster in our great nation.
Works Cited:
Sweet, Jr., Robert W. The National Right to Read Foundation, 1996 http://www.nrrf.org/essay_Illiteracy.html
The issues clouding my mind this week create an enormous weight on my heart as well. Working with children gives me a glimpse into future American educational contention which should generate cause for concern.
Reading was once a primary element in the daily school curriculum. It took precedence over any other subject; Reading, Writing, and Arithmetic were referred to as the three fundamental subjects. Reading was always listed first, and for good reason. Those who did not attend school and could not read were generally NOT considered prime candidates for employment. Illiterate people were often forced to perform grueling manual labor and were not typically paid well. Sometimes their families starved and frequently lived in squalor.
It was fortunate for Americans that our government became abundantly aware of this issue and instituted radical changes in educational priorities. Better funding was available to schools. Soon, education was available to all children. The number of illiterate Americans dropped dramatically and our country established a reputation as a great leader in education.
Unfortunately, public education has recently taken a back seat to political priorities and excessive unnecessary government spending. Classrooms in public schools are often overcrowded, educators waste vast amounts of time on government mandated student assessments and are forced to "teach to the test," and essential learning programs have been cut in many public schools. The number of illiterate children in the U.S. has slowly begun to rise again as a result. "According to the National Adult Literacy Survey, 42 million adult Americans can't read; 50 million can recognize so few printed words they are limited to a 4th or 5th grade reading level; one out of every four teenagers drops out of high school, and of those who graduate, one out of every four has the equivalent or less of an eighth grade education" (Sweet, Jr., 1996).
Are we doomed to repeat past? Doesn't anyone see this coming? Do our children deserve substandard education for the sake of irresponsible government spending? Can the U.S. afford to be illiterate? Those are questions to ponder and lend serious consideration to, especially as we teeter on the brink of eventual financial disaster in our great nation.
Works Cited:
Sweet, Jr., Robert W. The National Right to Read Foundation, 1996 http://www.nrrf.org/essay_Illiteracy.html
Blog Entry 14: Quote-Response
Quote:
From the grandmother to the child:
"You know, my child, since the dawn of time, dynasties have succeeded each other, but the kings always kept their promises. The Shah kept none; I remember the day he was crowned, he said: I am the light of the Aryans. I will make this country the most modern of all time. Our people will regain their splendor." (Persepolis 27)
Response:
Does this sound vaguely familiar to anyone else? "Our people will regain their splendor" (Persopolis 27) is the part that grabbed me. I read this quote and my resounding mental response was, "How many times have we heard similar promises from politicians in our own country, only to find out (once we give in and elect them) that they are as full of it as the Shah of Iran?" I actually liked the illustration of the Shah's wife who stood next to him and offered him a sideways glance as if to say, "Do you really think they believe that crap?"
I know that I might speak for many Americans when I say that the bull that's shoveled out with election campaigns these days emits a fowler stench as our country is driven further and further from its original foundation. In 1808, Sir Walter Scott hit the nail on the head when he said, "Oh what a tangled web we weave, when first we practice to deceive."
From the grandmother to the child:
"You know, my child, since the dawn of time, dynasties have succeeded each other, but the kings always kept their promises. The Shah kept none; I remember the day he was crowned, he said: I am the light of the Aryans. I will make this country the most modern of all time. Our people will regain their splendor." (Persepolis 27)
Response:
Does this sound vaguely familiar to anyone else? "Our people will regain their splendor" (Persopolis 27) is the part that grabbed me. I read this quote and my resounding mental response was, "How many times have we heard similar promises from politicians in our own country, only to find out (once we give in and elect them) that they are as full of it as the Shah of Iran?" I actually liked the illustration of the Shah's wife who stood next to him and offered him a sideways glance as if to say, "Do you really think they believe that crap?"
I know that I might speak for many Americans when I say that the bull that's shoveled out with election campaigns these days emits a fowler stench as our country is driven further and further from its original foundation. In 1808, Sir Walter Scott hit the nail on the head when he said, "Oh what a tangled web we weave, when first we practice to deceive."
Wednesday, October 28, 2009
Blog Entry 13: Quote-Response
Quote:
"Two roads diverged in a wood, and I--
I took the one less traveled by,
And that has made all the difference" (Frost 634).
Response:
This has to be one of the most famous and frequently quoted of Frost's poems...and rightfully so. There is much wisdom packed in this brilliant symbolic work. I particularly enjoy the last three lines because they remind me of my husband, who epitomizes the social non-conformist. I think that I married him because he has always taken the "road less traveled." He is an individual thinker and welcomes challenges in life with open arms. My children look up to him for this, and I encourage them to do so. I only hope that I can keep up with him on that "road less traveled." Sometimes it's a bumpy ride, but it has indeed "made all the difference."
"Two roads diverged in a wood, and I--
I took the one less traveled by,
And that has made all the difference" (Frost 634).
Response:
This has to be one of the most famous and frequently quoted of Frost's poems...and rightfully so. There is much wisdom packed in this brilliant symbolic work. I particularly enjoy the last three lines because they remind me of my husband, who epitomizes the social non-conformist. I think that I married him because he has always taken the "road less traveled." He is an individual thinker and welcomes challenges in life with open arms. My children look up to him for this, and I encourage them to do so. I only hope that I can keep up with him on that "road less traveled." Sometimes it's a bumpy ride, but it has indeed "made all the difference."
Monday, October 26, 2009
Blog Entry 12: Poem Paraphrase
The poem I chose to paraphrase this time is “The Parish Register” (Crabbe 594). I initially conjured up images of a couple of kids playing “wedding.” However, as I retraced my reading and mulled through the poem a second time, I noticed that the Kennedy textbook indicated that it was depicting a “shotgun wedding” (Kennedy 594).
I found this poem to be quite humorous as the groom’s sluggish resistance and anger over a dumb mistake is quite obvious. I knew a few grooms who found themselves in just such a predicament. I suppose it’s really not that funny, but Crabbe did a great job capturing the setting.
“The Parish Register” Paraphrase:
Next up is a pair who had no luck.
They were brought here today because their strong passion led to no option other than marriage.
The bride walked in with a long dress that hung loosely on her body.
This was intentional so that no one would notice her condition.
The groom was just a young man who shuffled around and hid, while pacing in the back.
Finally, he peeked out to see if it was time.
He was both ashamed and angry.
He was a bit confused, and in a slightly drunken state, reluctant to move.
However, he quickly performed his duty.
But he did not look happy. He was angry.
I found this poem to be quite humorous as the groom’s sluggish resistance and anger over a dumb mistake is quite obvious. I knew a few grooms who found themselves in just such a predicament. I suppose it’s really not that funny, but Crabbe did a great job capturing the setting.
“The Parish Register” Paraphrase:
Next up is a pair who had no luck.
They were brought here today because their strong passion led to no option other than marriage.
The bride walked in with a long dress that hung loosely on her body.
This was intentional so that no one would notice her condition.
The groom was just a young man who shuffled around and hid, while pacing in the back.
Finally, he peeked out to see if it was time.
He was both ashamed and angry.
He was a bit confused, and in a slightly drunken state, reluctant to move.
However, he quickly performed his duty.
But he did not look happy. He was angry.
Blog Entry 11: Quote-Response
Quote:
"We poets in our youth begin in gladness,
But thereof come in the end despondency and madness"(Wordsworth 567).
Response:
This quote grabbed me as I believe that Wordsworth summed up the stark contrast between a youthful outlook and adult reality, not just for poets but for people in all walks of life. Children tend to look at life through rose-colored glasses. They have very little responsibility and their biggest worry is whether or not they will have enough time to play after dinner. Adulthood eliminates such innocence through sudden independence, responsibility, and daily stress.
Just today my 13 year old son asked me why adults sometimes act like children. I had to explain to him that if we didn't, we might blow a gasket. I told him that an occasional flirt with childhood is necessary for adults because of the enormous daily strain which accompanies adulthood. I added that some just forget to return to reality.
No wonder poetry written by adults is frequently dark and depressing. Daily life can drive us quite mad at times! Wordsworth hit harsh reality square on the head with this one.
"We poets in our youth begin in gladness,
But thereof come in the end despondency and madness"(Wordsworth 567).
Response:
This quote grabbed me as I believe that Wordsworth summed up the stark contrast between a youthful outlook and adult reality, not just for poets but for people in all walks of life. Children tend to look at life through rose-colored glasses. They have very little responsibility and their biggest worry is whether or not they will have enough time to play after dinner. Adulthood eliminates such innocence through sudden independence, responsibility, and daily stress.
Just today my 13 year old son asked me why adults sometimes act like children. I had to explain to him that if we didn't, we might blow a gasket. I told him that an occasional flirt with childhood is necessary for adults because of the enormous daily strain which accompanies adulthood. I added that some just forget to return to reality.
No wonder poetry written by adults is frequently dark and depressing. Daily life can drive us quite mad at times! Wordsworth hit harsh reality square on the head with this one.
Wednesday, October 21, 2009
Blog Entry 10: Song Quote Response
Two of my greatest blessings...
Song Quote:
"Because I have been given much, I too must give.
Because of thy great bounty, Lord each day I live.
I shall divide my gifts from thee with every brother that I see,
who has the need of help from me (Crowell)."
Response:
This is one of my favorite hymns; not because of the tune or the melody, but due to the profound message contained in the lyrics.
I feel that my life has been blessed in so many ways that I want to give to those who do not share my good fortune. I do not mean that I need to give money to every needy person that I encounter on the street corner either. Money is easy to give. I often feel the need to give of myself, which is a thousand times more difficult at times.
I suppose that is the primary reason I chose the career path that I find myself blessed with. My job pays very little, but having the opportunity to give to others holds immeasurable value. The satisfaction that comes from the daily hugs, genuinely expressed love, and the smiling countenance of a child brings joy to my very soul. Those are the images that flood my mind as I recall the poetic words that emit from this heart-warming song.
Blog Entry 9: Haiku
I chose to write a Haiku. I think that a lot can be said in just 17 little syllables, so here goes...
If Haikus had titles mine would simply be entitled, HOMEWORK.
Headaches taunt my brain
Late nights rob me of my sleep
Days merge into one
If Haikus had titles mine would simply be entitled, HOMEWORK.
Headaches taunt my brain
Late nights rob me of my sleep
Days merge into one
Monday, October 19, 2009
Blog Entry 8: Poem Paraphrase
The poem I chose to paraphrase from the Kennedy textbook is Ted Koosher's "Abandoned Farmhouse"(788-789).
There was a pair of large shoes found on a pile of broken dishes in an old abandoned farmhouse. The man who wore them had to be a big man. He was also tall, judging from the length of the bed in the upstairs bedroom. He was a God-fearing man because the Bible lying on the floor under the window had a broken back from being read often. He wasn't much for farming, though, as the fields had many boulders in them and the barn roof leaked.
We know that there was a woman who lived in the farmhouse with the man because a wall of the bedroom is covered with lilac, the kitchen shelves are covered with oilcloth, and they had a child. We know that they had a child because there was a sandbox made from a tractor tire.
We know that they had little money, judging from the jars of canned tomatoes and plum preserves found down in the cellar. The winters were most-likely cold since rags were stuffed in the frames of the windows. The narrow country road was not inviting to visitors, so they were lonely.
We assume that something went wrong because the house was empty and the yard was covered with weeds. The stones in the fields had not been removed for farming and the jars in the cellar were still sealed. They had to leave quickly. The child's toys were strewn all over the yard. There was a rubber cow, a rusty tractor with a broken plow, and a doll in overalls. People believe that something went terribly wrong.
There was a pair of large shoes found on a pile of broken dishes in an old abandoned farmhouse. The man who wore them had to be a big man. He was also tall, judging from the length of the bed in the upstairs bedroom. He was a God-fearing man because the Bible lying on the floor under the window had a broken back from being read often. He wasn't much for farming, though, as the fields had many boulders in them and the barn roof leaked.
We know that there was a woman who lived in the farmhouse with the man because a wall of the bedroom is covered with lilac, the kitchen shelves are covered with oilcloth, and they had a child. We know that they had a child because there was a sandbox made from a tractor tire.
We know that they had little money, judging from the jars of canned tomatoes and plum preserves found down in the cellar. The winters were most-likely cold since rags were stuffed in the frames of the windows. The narrow country road was not inviting to visitors, so they were lonely.
We assume that something went wrong because the house was empty and the yard was covered with weeds. The stones in the fields had not been removed for farming and the jars in the cellar were still sealed. They had to leave quickly. The child's toys were strewn all over the yard. There was a rubber cow, a rusty tractor with a broken plow, and a doll in overalls. People believe that something went terribly wrong.
Saturday, October 17, 2009
Blog Entry 7: Freestyle
There was a specific part of Faulkner's "A Clean, Well-Lighted Place" that painted a profound image in my mind of the sad plight of the old deaf man. Knowing that he nearly took his life and that his life was most-likely filled with loneliness, the older waiter could somewhat empathize with the deaf man. The younger waiter did not seem to understand his loneliness or misery. He had a wife at home and a confidence that can only accompany youthful vitality. The older waiter was beyond that stage in life. He understood the value of a clean well-lighted place in which one could spend the lonely hours.
I imagine the lack of compassion that those in need in our world often experience, primarily the older generation. The younger waiter took advantage of the deaf man's inability to hear the cruel words he uttered as he said, "You should have killed yourself last week," (Hemingway 148). Did he feel guilty later on? Did he even care? Will he understand once he grows old and lonely? Perhaps...perhaps not.
I imagine the lack of compassion that those in need in our world often experience, primarily the older generation. The younger waiter took advantage of the deaf man's inability to hear the cruel words he uttered as he said, "You should have killed yourself last week," (Hemingway 148). Did he feel guilty later on? Did he even care? Will he understand once he grows old and lonely? Perhaps...perhaps not.
Thursday, October 15, 2009
Blog Entry 6: Quote-Response
Quote:
"But in a last word to the wise of these days let it be said that of all who gave gifts these two were the wisest. Of all who give and receive gifts, such as they are wisest. Everywhere they are wisest. They are the magi." (O. Henry 168)
Response:
This story is one of my all-time favorites! I read it each year to my children and even make it a point to go to the theatrical production produced by the Bird Cage Theater at Knott's Berry Farm in Buena Park.
This particular quote is the last few lines of the story. They are so powerful, yet so simple. The relationship between Jim and Della is cemented with true selfless sacrifice. If only more of us could mirror the love and commitment these two have toward one another, perhaps this would be a happier world. The spirit of the magi lives on in the unselfish heart.
"But in a last word to the wise of these days let it be said that of all who gave gifts these two were the wisest. Of all who give and receive gifts, such as they are wisest. Everywhere they are wisest. They are the magi." (O. Henry 168)
Response:
This story is one of my all-time favorites! I read it each year to my children and even make it a point to go to the theatrical production produced by the Bird Cage Theater at Knott's Berry Farm in Buena Park.
This particular quote is the last few lines of the story. They are so powerful, yet so simple. The relationship between Jim and Della is cemented with true selfless sacrifice. If only more of us could mirror the love and commitment these two have toward one another, perhaps this would be a happier world. The spirit of the magi lives on in the unselfish heart.
Friday, October 9, 2009
Blog Entry 5: Freestyle
I love watching the old black and white TV shows like Andy Griffith and I Love Lucy. I draw amusement from each episode as mundane lifestyles lead to unsuspected conflict, and sometimes mayhem, in order to effectively entertain the audience. In Andy Griffith's Mayberry, life is simple but stagnant. Not much happens on a day-to-day basis. Lucy is also faced with an uneventful lifestyle while cooped up in a high rise apartment building in a large city with nothing to do but brew up regular mischief. Often the characters in these shows create overblown drama resulting from inconsequential isolated interruptions in their otherwise humdrum life.
I found that a strikingly similar scenario played out in Gabriel Garcia Marquez’s A Tale for Children. A small village of no more than twenty houses with very little space between neighbors encountered a dramatic sequence of events when a dead man’s body washed up on the shore one day. As the women prepared the body of the stranger for burial, they began to speculate as to the life this large good-looking man must have lead. They needed a hero of the mind who would rescue them from their uneventful existence, if only in their wildest imaginations. This man seemed to do the trick. They even named him "Esteban." The stranger with his mysterious appearance, unlike any of the others, became a threat to the men of the village as the women invented an exciting former life for Esteban, filled with supposed immeasurable importance and stature. Their obsession with the stranger began to drive a wedge between the women and their husbands. “They secretly compared him to their own men, thinking that for all their lives theirs were incapable of doing what he could do in one night, and they ended up dismissing them deep in their hearts as the weakest, meanest, and most useless creatures on earth.” (Marquez; p. 331)
When we live with someone and our lifestyle becomes a day in and day out event, we tend to overlook our initial attraction to these life-long choices. The old adage, “the grass is always greener…” becomes commonplace with some. People tend to search for a break in monotony by creating unrealistic comparisons while drawing upon new and exciting prospects. I suppose it is human nature to invite excitement in life when boredom rears its ugly head. Perhaps we should attempt to spice up our lives at such a point by discovering productive ways to give validity to our original commitments. Re-visit the excitement of the past! Although we enjoy humor in the obviously overblown scenarios played out in our favorite shows and stories, we should seek satisfaction in learning from these characters rather than mimicking their destructive behavior in real life.
I found that a strikingly similar scenario played out in Gabriel Garcia Marquez’s A Tale for Children. A small village of no more than twenty houses with very little space between neighbors encountered a dramatic sequence of events when a dead man’s body washed up on the shore one day. As the women prepared the body of the stranger for burial, they began to speculate as to the life this large good-looking man must have lead. They needed a hero of the mind who would rescue them from their uneventful existence, if only in their wildest imaginations. This man seemed to do the trick. They even named him "Esteban." The stranger with his mysterious appearance, unlike any of the others, became a threat to the men of the village as the women invented an exciting former life for Esteban, filled with supposed immeasurable importance and stature. Their obsession with the stranger began to drive a wedge between the women and their husbands. “They secretly compared him to their own men, thinking that for all their lives theirs were incapable of doing what he could do in one night, and they ended up dismissing them deep in their hearts as the weakest, meanest, and most useless creatures on earth.” (Marquez; p. 331)
When we live with someone and our lifestyle becomes a day in and day out event, we tend to overlook our initial attraction to these life-long choices. The old adage, “the grass is always greener…” becomes commonplace with some. People tend to search for a break in monotony by creating unrealistic comparisons while drawing upon new and exciting prospects. I suppose it is human nature to invite excitement in life when boredom rears its ugly head. Perhaps we should attempt to spice up our lives at such a point by discovering productive ways to give validity to our original commitments. Re-visit the excitement of the past! Although we enjoy humor in the obviously overblown scenarios played out in our favorite shows and stories, we should seek satisfaction in learning from these characters rather than mimicking their destructive behavior in real life.
Monday, October 5, 2009
Quote - Response (Blog Entry 4)
QUOTE:
"They were all on the stage. They weren't only the audience, not only looking on; they were acting. Even she had a part and came every Sunday. No doubt somebody would have noticed if she hadn't been there; she was part of the performance after all." (Mansfield; p.86)
RESPONSE:
Isn't this how most of us would like to feel about our life in general? We would all like to have some reassurance that without us the "show" simply could not go on; that we would indeed be missed if absent from life's daily drama.
In this passage Miss Brill has just made a profound realization about her particular role as a simple spectator on the park bench each Sunday afternoon. Her thoughts support the analogy that "all the world is a stage," as William Shakespeare so eloquently put it. Each of us is a character, an actor in the play of life; and without us, life simply would not be the same.
I would like to believe that my part in life is noteworthy. I am sure that Miss Brill would enjoy that same personal comfort as well.
"They were all on the stage. They weren't only the audience, not only looking on; they were acting. Even she had a part and came every Sunday. No doubt somebody would have noticed if she hadn't been there; she was part of the performance after all." (Mansfield; p.86)
RESPONSE:
Isn't this how most of us would like to feel about our life in general? We would all like to have some reassurance that without us the "show" simply could not go on; that we would indeed be missed if absent from life's daily drama.
In this passage Miss Brill has just made a profound realization about her particular role as a simple spectator on the park bench each Sunday afternoon. Her thoughts support the analogy that "all the world is a stage," as William Shakespeare so eloquently put it. Each of us is a character, an actor in the play of life; and without us, life simply would not be the same.
I would like to believe that my part in life is noteworthy. I am sure that Miss Brill would enjoy that same personal comfort as well.
Friday, October 2, 2009
FREESTYLE BLOG ENTRY:
In my line of work, which is elementary education, I have a first-hand look at the future of reading in our modern world. I must admit that it currently appears bleak and proves quite worrisome in many ways. I see fundamental reading skills critically suffer with each new generation of students. The problems I see are reparable, however. It's not too late for parents to step up to the plate and make simple changes that will greatly improve this potential crisis.
I feel that the problem stems directly from the increasing availability of technological advancements to our children. Due to the fact that they have basically grown up with computers, game systems, cell phones, and various electronic gadgets at their fingertips, children have in essence become lazy without even realizing it. It is innate for kids of the current generation to allow the cyber world to take over for them, to think for them, and to learn for them.
Another problem appears that technology is so much faster that our brains are constantly in a state of "overdrive." At our school the principal has made numerous requests that we frequently engage our students in puzzles and quiet games, which encourage them to concentrate on one fixed item for longer periods of time. This, she believes, will not only enhance their reading focus, but will improve their skills in mathematics as well.
Growing up in a large family with a shared love of books, we would read whenever boredom reared its ugly head. We read in the car, in the airport, and any other place where we were required to wait for extended periods of time. It seemed to be quite frequent in my particular case. Nonetheless, our reading skills were top-notch as a result. Today I see very little of this going on. Instead I see kids with I-Pods, cell phones, texting devices of all kinds, and laptops small enough to fit into my tiny change purse! These are the time-fillers of today...not books.
Although I personally embrace modern technology with excitement and vigor, I fear that our dependence on these advances will be detrimental to the reading, writing, and problem solving capabilities of future generations. It is already becoming quite evident and may only worsen if changes are not realized and initialized.
While it is unrealistic to expect that modern technology would ever take a backseat to the "old school" ways of learning, I would celebrate the observation of more parents taking charge of their children's educational future by exchanging the "gadgets" for a good old-fashioned book once in a while.
I feel that the problem stems directly from the increasing availability of technological advancements to our children. Due to the fact that they have basically grown up with computers, game systems, cell phones, and various electronic gadgets at their fingertips, children have in essence become lazy without even realizing it. It is innate for kids of the current generation to allow the cyber world to take over for them, to think for them, and to learn for them.
Another problem appears that technology is so much faster that our brains are constantly in a state of "overdrive." At our school the principal has made numerous requests that we frequently engage our students in puzzles and quiet games, which encourage them to concentrate on one fixed item for longer periods of time. This, she believes, will not only enhance their reading focus, but will improve their skills in mathematics as well.
Growing up in a large family with a shared love of books, we would read whenever boredom reared its ugly head. We read in the car, in the airport, and any other place where we were required to wait for extended periods of time. It seemed to be quite frequent in my particular case. Nonetheless, our reading skills were top-notch as a result. Today I see very little of this going on. Instead I see kids with I-Pods, cell phones, texting devices of all kinds, and laptops small enough to fit into my tiny change purse! These are the time-fillers of today...not books.
Although I personally embrace modern technology with excitement and vigor, I fear that our dependence on these advances will be detrimental to the reading, writing, and problem solving capabilities of future generations. It is already becoming quite evident and may only worsen if changes are not realized and initialized.
While it is unrealistic to expect that modern technology would ever take a backseat to the "old school" ways of learning, I would celebrate the observation of more parents taking charge of their children's educational future by exchanging the "gadgets" for a good old-fashioned book once in a while.
Thursday, October 1, 2009
Quote-Response Assignment
Quote:
"...and the very old men -some in thier brushed Confederate uniforms- on the porch and the lawn, talking of Miss Emily as if she had been a contemporary of theirs, believing that they had danced with her and courted her perhaps, confusing time with its mathematical progression, as the old do, to whom all the past is not a diminishing road but, instead, a huge meadow which no winter ever quite touches, divided from them now by the narrow bottleneck of the most recent decade of years." (Faulkner; p. 34)
Response:
Upon reading this story, the passage quoted above really stood out as a textbook charactaristic reaction to death. While the entire town actively engaged in critically tearing down the reputation of poor Miss Emily in life, upon her death it was as if they were ashamed and perhaps fearful to continue the caddy soiling remarks. The people of the town of Jefferson did not want to appear unsightly in any manner, so they dressed in their finest clothing and began "pretending" (if you will) that Miss Emily meant more to them than truth be told. Did they wish to smooth over any premise of public collective guilt over the way they treated her in life? Was this their way of unburdoning themselves from shame as they realized the advancing approach of their own twilight?
The words that I find to be poignant are Faulkner's description of perception of the past, painting it as a "...huge meadow, which no winter ever touches,..." As people get older, they have a tendency to often see the past through rose-colored glasses in order to perhaps erase or gloss over any semblance of unrepented guilt.
Why is it that while a person is living they can be a horrid and lowly creature by reputation, but upon thier death they must be hailed and revered for the finest of human qualities, which they never appeared to have possession of in the first place while alive?
"...and the very old men -some in thier brushed Confederate uniforms- on the porch and the lawn, talking of Miss Emily as if she had been a contemporary of theirs, believing that they had danced with her and courted her perhaps, confusing time with its mathematical progression, as the old do, to whom all the past is not a diminishing road but, instead, a huge meadow which no winter ever quite touches, divided from them now by the narrow bottleneck of the most recent decade of years." (Faulkner; p. 34)
Response:
Upon reading this story, the passage quoted above really stood out as a textbook charactaristic reaction to death. While the entire town actively engaged in critically tearing down the reputation of poor Miss Emily in life, upon her death it was as if they were ashamed and perhaps fearful to continue the caddy soiling remarks. The people of the town of Jefferson did not want to appear unsightly in any manner, so they dressed in their finest clothing and began "pretending" (if you will) that Miss Emily meant more to them than truth be told. Did they wish to smooth over any premise of public collective guilt over the way they treated her in life? Was this their way of unburdoning themselves from shame as they realized the advancing approach of their own twilight?
The words that I find to be poignant are Faulkner's description of perception of the past, painting it as a "...huge meadow, which no winter ever touches,..." As people get older, they have a tendency to often see the past through rose-colored glasses in order to perhaps erase or gloss over any semblance of unrepented guilt.
Why is it that while a person is living they can be a horrid and lowly creature by reputation, but upon thier death they must be hailed and revered for the finest of human qualities, which they never appeared to have possession of in the first place while alive?
Reading Interviews
I interviewed 3 individuals from totally different walks of life in order to present a little variety.
The first person I interviewed was my husband. He is the "perpetual student"(working on a second masters degree online), he is a Fire District employee, and he teaches two online fire-related courses. He has very little time to read for pleasure these days. However, when he does find a snippet of time, he enjoys reading biographies and autobiographies of recent and historical political figures. He has read numerous fiction novels by Louis L'amour and, like me, has a zest for the past and a fascination with the Old West. I have very little interest in the lives of political figures and Louis L'amour's writings do not thrill me. I find that there are too many characters introduced in these novels early on and I have difficulty keeping track of all of them. Plus, I find that the stories are all pretty much the same idea...very predictable.
I also interviewed a co-worker who is a middle school language teacher. She enjoys reading the "classics." She is currently dividing her time between the likes of Lord of the Flies, Pride and Prejudice, and The Hounds of the Baskervilles.I would have to say that I enjoy similar reading and would be more likely to share her enthusiasm for the classics as well. Perhaps that is the tie that binds us as friends.
Next, I interviewed my son who is in 8th grade and is turning 13 on Sunday. He is an avid reader, so much so that I have actually had to place restrictions on his reading time (ie. at the dinner table, during chore time, etc.). He loves to read anything that he can get his hands on. He is currently reading the Harry Potter series for the 10th or 11th time. He has read the entire series of Lord of the Rings several times and I even turned him onto the Twilight series, despite his initial resistance. In his manly opinion they were "chick novels." He and I agree on some aspects of what is "good reading" and differ quite a bit regarding others. While he and I both enjoyed the Twilight series, I am not a huge fan of Harry Potter. Lord of the Rings is a much better read in my opinion. My son can typically lap me when we read the same books. His dad taught him a little speed reading at an early age. Needless to say, his vocabulary is quite advanced for a 12 year old.
The first person I interviewed was my husband. He is the "perpetual student"(working on a second masters degree online), he is a Fire District employee, and he teaches two online fire-related courses. He has very little time to read for pleasure these days. However, when he does find a snippet of time, he enjoys reading biographies and autobiographies of recent and historical political figures. He has read numerous fiction novels by Louis L'amour and, like me, has a zest for the past and a fascination with the Old West. I have very little interest in the lives of political figures and Louis L'amour's writings do not thrill me. I find that there are too many characters introduced in these novels early on and I have difficulty keeping track of all of them. Plus, I find that the stories are all pretty much the same idea...very predictable.
I also interviewed a co-worker who is a middle school language teacher. She enjoys reading the "classics." She is currently dividing her time between the likes of Lord of the Flies, Pride and Prejudice, and The Hounds of the Baskervilles.I would have to say that I enjoy similar reading and would be more likely to share her enthusiasm for the classics as well. Perhaps that is the tie that binds us as friends.
Next, I interviewed my son who is in 8th grade and is turning 13 on Sunday. He is an avid reader, so much so that I have actually had to place restrictions on his reading time (ie. at the dinner table, during chore time, etc.). He loves to read anything that he can get his hands on. He is currently reading the Harry Potter series for the 10th or 11th time. He has read the entire series of Lord of the Rings several times and I even turned him onto the Twilight series, despite his initial resistance. In his manly opinion they were "chick novels." He and I agree on some aspects of what is "good reading" and differ quite a bit regarding others. While he and I both enjoyed the Twilight series, I am not a huge fan of Harry Potter. Lord of the Rings is a much better read in my opinion. My son can typically lap me when we read the same books. His dad taught him a little speed reading at an early age. Needless to say, his vocabulary is quite advanced for a 12 year old.
ADDITIONAL QUOTE:
"Don't go around saying the world owes you a living. The world owes you nothing. It was here first."
Mark Twain
Mark Twain
Monday, September 28, 2009
Reader's Autobiography:
Welcome to my blog...
I am the creator of this "blog in training." It is my first attempt at setting up a blog. Hopefully I will figure out what I'm doing before too long!
My name is Lisa Ball and I live in Southern California. My online major of choice at EOU is Liberal Studies. I am hoping to be able to specifically focus on an emphasis in both Psychology and Education. I really have no "hobbies" to speak of since I am a mother of 2 vivacious children (a 13 year old son and a daughter who is 9) and a happy wife of 17 years to my "BFF." I have no life outside of the realistic realm of family, a daily career working in private education, and church. What more could I ask for anyway? Life has been very good to me!
My reading experiences came at a very early age. My obsessive passion for writing came much later. I learned to read at around the age of 5 in Kindergarten, I suppose. My favorite book was Mike Mulligan and His Steam Shovel. I read that book until it literally fell apart in my hands. I loved to read to my little brothers and sisters as well. There were eight children in my family and I am the oldest daughter. Needless to say, I got lots of practice reading aloud.
I did not develop a true passion for personal reading until I discovered the Laura Ingalls Wilder series at the awkward budding age of 9. I could relate with Laura's personal conflicts and simplistic views of the world. It was then that I found myself immersed in the lifestyle of the late 19th century - and I believe I never fully recovered. I now find myself drawn to turn-of-the-century writings and biographies written by and about the earthy folks from that era. My most recent obsession is Beverly Lewis' Amish novels. I often find myself thinking that perhaps I was born in the wrong century.
I am not much of a "blogger" or "Facebook" enthusiast, but I am willing to give this assignment a try for the sake of education. Perhaps I could learn a thing or two from those of you out there in the cyber world who are willing to tutor me, reign me in, and bring me back just a tiny bit into the 21st century!
My name is Lisa Ball and I live in Southern California. My online major of choice at EOU is Liberal Studies. I am hoping to be able to specifically focus on an emphasis in both Psychology and Education. I really have no "hobbies" to speak of since I am a mother of 2 vivacious children (a 13 year old son and a daughter who is 9) and a happy wife of 17 years to my "BFF." I have no life outside of the realistic realm of family, a daily career working in private education, and church. What more could I ask for anyway? Life has been very good to me!
My reading experiences came at a very early age. My obsessive passion for writing came much later. I learned to read at around the age of 5 in Kindergarten, I suppose. My favorite book was Mike Mulligan and His Steam Shovel. I read that book until it literally fell apart in my hands. I loved to read to my little brothers and sisters as well. There were eight children in my family and I am the oldest daughter. Needless to say, I got lots of practice reading aloud.
I did not develop a true passion for personal reading until I discovered the Laura Ingalls Wilder series at the awkward budding age of 9. I could relate with Laura's personal conflicts and simplistic views of the world. It was then that I found myself immersed in the lifestyle of the late 19th century - and I believe I never fully recovered. I now find myself drawn to turn-of-the-century writings and biographies written by and about the earthy folks from that era. My most recent obsession is Beverly Lewis' Amish novels. I often find myself thinking that perhaps I was born in the wrong century.
I am not much of a "blogger" or "Facebook" enthusiast, but I am willing to give this assignment a try for the sake of education. Perhaps I could learn a thing or two from those of you out there in the cyber world who are willing to tutor me, reign me in, and bring me back just a tiny bit into the 21st century!
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