Economics Question Essay Example | Topics and Well Written Essays - 500 words

Economics Question - Essay Example A market system lets the market decide what is produced. A lot of different price points—effectively the invisible hand—decide where resources go and what prices should be. Production is decided by supply and demand. In a socialist economy the government or a committee decides they would like more butter or more shoes produced in the current year and choose a quantity for production that they believe will be sufficient (it rarely is—or it is far too much). Describe the theoretical mechanism in which consumers are sovereign, who consumers really decide what goods they want and how they demonstrate those decisions and desires. Is there a contradiction between the statement that businesses decide what is produced and the idea that consumers have sovereignty? Consumers are sovereign in so far as in a market economy their demand decides what products are produced. Businesses decide what to produce based on their reading of consumer demand. Businesses fail when they have not properly estimated the demand for their product. Consumers are sovereign. National defence – this is too important to outsource to the market; Some health care such as Medicare and Medicade. Maintaining national parks. Taking taxes. The Federal reserve system that centrally plans monetary policy. Stimulus spending in times of

The Concept of Literacy to Prospective Teachers Essay

The Concept of Literacy to Prospective Teachers - Essay Example This begins with children who come into the classroom from different backgrounds, learning methods and special needs that should be enhanced. Each of these requires different formats for teaching literacy while helping children with their specific characteristics that are within the classroom. By developing this, there is the ability to create deeper understanding and knowledge that is a part of the education of children while enhancing learning abilities by meeting children with the culture which they understand. The development that is created from this becomes easier while allowing all students from diverse backgrounds to have their needs met with literacy (Flint, 2007). The second point which would be made would expand on the idea of reaching cultures into developing and working with specific tools for students. Language development is one that is based on creating skills and working with children to develop these with the use of scenarios and circumstances. Both oral and reading skills are developed specifically by helping to create the right learning environment so the skills are continuously practised and developed in a way that ensures all children are able to develop the right approach to reading and writing. This means that the environment in the classroom needs to be established in a manner that allows children to understand and develop their literacy skills over time and with continued support from the environment and teaching that is available. Using this as a foundation invites in cultural diversity and enhances the needs each child has (Flint, 2007). The third relevant point that would be used with teachers would be from the different ways in which children can be introduced to practising skills while boosting the diversity of the classroom.

Impact of Social Media on Young Peoples Body Image

Impact of Social Media on Young Peoples Body Image A critical analysis of the ways that media and social media affect young people’s body image The effect media and social media has on young people has become more prominent in recent years. Many young people have low self-esteem caused by comparing themselves to each other online. Furthermore, young people are constantly surrounded by adverts using models with unrealistic body types and it is because of this among other reasons that there are such high reports of young people with eating disorders. The majority of sources looked at in this discourse analysis come from a variety of newspaper articles as well as many academic sources. Most of the newspaper articles are fairly recent from between 2009 and 2017 whereas the academic literature is older with some dating back to 2000. This is so that we are able to see whether there has been a change over time. This essay has been split into three sections. The first looks at articles backed up by studies and how they compare, the second looks at who is to blame for a negative body image as well as who most articles are written for , the third section examines how academic literature compares to media sources and whether they agree or disagree with the findings. Figure 1: Instagram An article by The Independent (2017) looked at how social media can be very damaging to young girls through the use of hashtags such as ‘thinsperation’, ‘bonesperation’ and ‘fitsperation’. The article starts off by saying that there is an ‘alarmingly large number’ of accounts online that are ‘proano’ and encourage people to post photos of their emaciated bodies. The word ‘alarmingly’ suggests that there is a higher amount of accounts active than would have been expected and therefore the word is being used to scare the reader to show them how big the issue actually is. The article then goes on to talk about a study published in the Journal of Eating Disorders where they carry out a content analysis of hashtags on social media. The article goes on to say that the study found that there is a ‘staggering’ number of photos online using these hashtags. However, this is not what the study was looking at, instead it was analysing three hashtags and what kind of images appear under each one (Talbot, C et al, 2017). The article has chosen only to use the number of photos the study used rather than what the findings actually were. As well as this, the use of the word ‘staggering’ could be seen as an exaggeration in order to instil fear into the readers. Most of the readers of newspapers tend to be parents and therefore it could be assumed that the use of language is used in order to make parents follow their children’s social media more closely. Figure 1 shows an example of what would come up if the hashtag thinsperation was searched. Most of the images are seen in black and white and many don’t show their faces which could suggest that whilst they may like thin bodies they may be embarrassed or want to keep their identities hidden. A Guardian (2017) article explored the idea that photos of peers on social media can have the biggest impact on body image. It starts off by using words such as ‘guilt’ and ‘shame’ which are both negative words that may make the reader connect with the story, especially if they’ve felt the same way as the people being talked about. The article uses a study that appeared in the Body Image journal about the impact of appearance comparisons to back up its points. The newspaper article states that women are more likely to compare themselves to each other through photos on social media rather than through other forms of media. However, the study’s main finding was that negative comparisons occur most frequently when face to face compared to online (Fardouly, J et al, 2017). The article failed to mention this and decided to pick out information that would back up their story rather than what the study actually found. This article mentions the impact on body image in general rather than a specific gender. However, they only focused on a study with a small sample size of only 160 people and they were all girls. A study using a small sample size may not be as accurate as using multiple studies or a study with a large sample size and therefore the results would not be able to be generalised to a wider population. Figure 2: https://themirrorreflects.wordpress.com/2013/01/13/real-life-barbies/ Barbies have often come under criticism for giving girls unrealistic expectations for body image, as seen in figure 2. An article written for an eating disorder help website claims that 90% of people that suffer with an eating disorder are girls between the ages of 12 and 25. It goes on to say that because they are girls they most likely played with Barbies shortly before contracting the disease. This article is saying that there is a direct correlation between playing with Barbies and getting an eating disorder. It also states that parents should be careful when choosing what toys their children can play with because they develop a critical eye from an early age. Not only is this article criticising Barbie dolls for leading to eating disorders but it is also blaming parents for choosing the wrong toys for their children (Mirror Mirror, 2016). An article written for the American Psychiatric Association (2016) claims that American children aged three to ten years old own an average of eight Barbies. Whereas, the Mirror Mirror article claims that the same aged kids have an average of ten. Therefore, this suggests that this article may be exaggerating the numbers to potentially try and scare parents into changing their habits if the numbers seemed more extreme. A journal published in 2006 backs up these points by saying that it is specifically the Barbie doll that causes body image issues compared to other dolls. However, it claims that the higher age group of 7 Â ½ to 8 Â ½ were not affected by Barbies but were instead affected by the more accurately shaped Emme doll as they perceived this one to be overweight. This also backs up the above articles as it says that environmental stimuli can have an effect very early on in life because they begin to internalise the Barbie image. The majority of articles discuss how women are affected by media however, men are affected too. An article from The Sun (2017) focuses on how men are affected. It claims that ‘male athletes are 16 times more likely to get an eating disorder compared to normal blokes’ but it fails to state where it has received its facts from. Throughout the article the word ‘expert’ is constantly used to give statistics, however there is no mention of any studies to back up these points and therefore the research may not be accurate. Furthermore, the title suggests that the article would be about social media, however it is only mentioned briefly once at the beginning and so therefore the article is misleading. An article written for the website Adiosbarbie (2015), a website that aims to stretch concepts surrounding body image, talks about how men don’t report eating disorders because they are told to ‘be a man’. This article shows that there are more men than you think struggling with eating disorders but they just don’t speak out. It is also written in a much more informal style and addresses the reader using phrases like ‘we must’ which may suggest that they are trying to connect with the reader about the issue. A further article (casapalmera.com, 2009) compares eating disorders in men and women and it is clear to see that there is a difference in language being used when describing each one. When talking about boys the article uses phrases such as ‘chiselled abs’ or ‘muscular’ which both describe a strong person, compared to words such as ‘waif-thin’ which are used to describe girls. This suggests that whilst both are affected by eating disorders the effects and their views are completely different. In 2017 a film was realised called ‘To The Bone’ which follows the story of a girl battling anorexia. This film received a lot of backlash as it was said to be glamorising eating disorders. One article by The Sun (2017) used words like ‘shockingly’, ‘worryingly’ and ‘chilling’ to describe the effect it has had on girls struggling with eating disorders. These words are all very strong words and therefore a person reading this article may be persuaded that they shouldn’t let their child watch it as it may lead to them having negative thoughts. They also use the phrase ‘experts slam the show’ without giving the name of the experts they are talking about. By using the word ‘expert’ it makes an article more believable. The Independent (2017) also discussed the film claiming that they have got the portrayal of anorexia wrong. However, they use other articles to back up their points and use less harsh words when negatively discussing the film. As well as this, rather than saying that they are ‘glamorising’ anorexia as The Sun does, they say that they are ‘trivialising’ it suggesting that it’s been over simplified. Furthermore, it doesn’t discuss the film in a negative way because it’s a trigger but it discusses the perception of gender in the film and depicting the main character as a young, white female. They claim that these stereotypes are inaccurate. Therefore, comparing these two articles it is clear to see that The Sun uses much harsher language to instil fear into the reader whilst The Independent uses much softer language and discusses issues surrounding the topic. Articles always try to place the blame on someone and in this case its celebrities. A Daily Mail article (unknown) says that unrealistic expectations for women lie with celebrities. They use words such as ‘snakehipped’ and ‘reed thin’ to describe models which both suggest that these women were severely underweight. This article also mentions sources such as Queen Mary and Great Ormond Street to show that girls are starving themselves and potentially making themselves infertile. These sources would immediately be trusted by readers whether they may be accurate or not. Therefore, readers may take the article more seriously. This article also compares anorexic teenagers to those liberated from Nazi concentration camps. The fact that they make this comparison is interesting as one is deliberate and the other is by force yet they both result in the same outcome – being severely underweight. By making this comparison it shows how bad the situation really is if girls are deliberately trying to starve themselves to the same extent. However, another article places the blame with social media. The Independent (2014) reported that the problem lies with increased pressure on social media. The article states that it has been given figures ‘exclusively’ on the topic and this may grab people’s attention because it suggests that only the readers will have access to the information. Figure 3: Screenshot Some articles suggest that celebrity endorsements encourage people to lose weight as they have a huge social media following and make weight loss seem easy (livestrong.com, 2017). However, half way down this article were adverts for the very thing the article was saying weren’t effective. Figure 3 shows the adverts that were present on the page. s. This isn’t the only time this has been an issue as it was reported in The Sun (2017) about a segment on the show Loose Women. Men were discussing their experiences of negative body image leading to eating disorders and when they went to an advert break the first advert was for diet pills. This goes to show that even when doing research about the negative impacts weight loss it is still possible to be faced with adverts advertising fad diets. One journal found that roughly 0.5% of 15 to 19-year-old girls have anorexia and it is on the rise. It discusses the ways in which media plays a key role in causing eating disorders. This journal also addresses gender differences when it comes to body image. Girls want to look thin whilst boys want to look lean with lots of muscle. This could be one of the reasons that boys aren’t mentioned as much in the media, because they don’t necessarily look as though they are underweight or have a disease because they may be going about it in a different way (Morris, A and Katzman, D. 2003). One study examined in this article stated that 44% of the girls participating believed they were overweight and 60% of them were in the process of dieting despite the majority of them being a healthy weight. This supports what has been reported in the media because the reason many girls are becoming anorexic is because they believe they are overweight. However, an article from 2004 reveals that whilst celebrities and playboy models have got thinner over the years the average size of American woman have increase. This shows that there is even more of a contrast between models and reality and therefore the perfect body is becoming harder and harder to achieve. To conclude, it is clear to see that from comparing academic journals to media sources both seem to be saying the same thing. Media and social media are one of the reasons that the number of people with eating disorders are increasing. They both also suggest that media and social media lead to young people having a more negative perception of themselves which can then manifest into a disease. On the whole, the media sources have been accurate however they sometimes exaggerate the facts as well as only choosing to use certain aspects of studies to fit the story. References: http://www.independent.co.uk/life-style/anorexia-social-media-bonespiration-thinspo-bullimia-eating-disorder-instagram-twitter-a8000461.html (2017 article)https://jeatdisord.biomedcentral.com/articles/10.1186/s40337-017-0170-2 (2017 journal)https://www.theguardian.com/society/2017/mar/05/friends-pictures-on-social-media-biggest-impact-body-image (2017)Instagram (2017)The impact of appearance comparisons made through social media,, traditional media,, and in person in women’s everyday lives – Fardouly, J (Journal)https://www.mirror-mirror.org/barbie-and-body-image.htm (2016)https://www.psychiatry.org/news-room/apa-blogs/apa-blog/2016/02/barbies-self-image-and-eating-disorders (2016)http://willettsurvey.org/TMSTN/Gender/DoesBarbieMakeGirlsWantToBeThin.pdf (journal -2006)Barbie photo https://themirrorreflects.wordpress.com/2013/01/13/real-life-barbies/ https://www.thesun.co.uk/living/4088418/huge-rise-men-eating-disorders-social-media/ (2017)https://casapalmera.com/blog/manorexia-men-with-eating-disorders-on-the-rise/ (2009)https://www.thesun.co.uk/news/3943117/anorexia-nervosa-the-bone-netflix-lily-collins/ (2017)http://www.independent.co.uk/life-style/health-and-families/to-the-bone-why-netflix-s-portrayal-of-eating-disorders-has-got-it-all-wrong-a7863106.html (2017)http://www.dailymail.co.uk/health/article-198217/Celebs-blame-anorexia.html (unknown)http://www.independent.co.uk/life-style/health-and-families/health-news/exclusive-eating-disorders-soar-among-teens-and-social-media-is-to-blame-9085500.html (2014)https://www.livestrong.com/article/385736-media-influence-on-weight-loss/ (2017)Screenshot from articlehttps://www.thesun.co.uk/tvandshowbiz/3546350/loose-women-weight-loss-tablet-advert-eating-disorders-gok-wan/ (2017?)

A Comparison of the Main Approaches to Personality Psychology Essay

A Comparison of the Main Approaches to Personality Psychology Psychology of personality is a difficult concept to define and quantify, therefore most personality theories, however different they may be in other respects, share the basic assumption, that personality is a particular pattern of behaviour and thinking, that prevails across time and situations and differentiates one person from another. Most theories attempting to explain personality represent part of the classic psychological Nature verse Nurture debate. In other words, is personality â€Å"inherited†, or developed through our interactions with the environment. In addition, we shall compare and contrast two of the main approaches to personality psychology by concentrating on Psychoanalytical Theory (Freud) and Social Learning Theory (Bandura). By looking at the Psychodynamic approach, developed by Freud, we can argue that it emphasizes the interplay of unconscious psychological processes in determining human thought, feelings, and behaviours. The basis of this approach is that psychological factors play a major role in determining behaviour and shaping personality. Freud argued that personality is composed of three major systems the id, the ego, and the superego. The id (biological part of personality) is present at birth and consists of inherited instincts and all psychological energies. The id operates according to the pleasure principle, seeking to reduce tension, avoid pain and obtain pleasure. The ego (executive part of personality) is conscious part of the mind, the â€Å"real† us. The function of the ego is to express and satisfy the desires of the id in accordance wit... ...ogist, 33, 344-358t Bandura, A. (1982). Self- efficacy mechanism in human agency. American Psychologist, 33, 334-358 Mischel, W. (1984). Convergence and challenges in the search for consistency. American Psychologist, 39, 351-364 Rotter, J. B. (1966) Social learning and Clinical Psychology. Englewood Cliffs, NJ; Practice Hall Rotter, J.B. (1966) Generalized expectancies for internal verse external control of reinforcement. Psychological Monographs, 80 (1, Whole No. 609) Alfred, A. (1927) The practice and theory of individual Psychology. New York: Harcourt Brace Jovanovich Carlson, R. Neil and Martin, Neil, and Buskit, W. (2004) Psychology (2nd European edition). Essex: Pearson Education Limited Gross, R (1996).Psychology, The Science of mind and behaviour (3rd Ed). London: Hodder & Stoughton

Architect Peter Behrens

The purpose of this analysis is to identify, define, and explain. It is a three part analysis that also has an Introduction and a Conclusion. The first section discusses the â€Å"Historical Background of the Architect†, Peter Behrens. Behrens was born in Germany where he made a significant contribution to the industry field. He brought the styles of Expressionistic, Industrial Classicism, Jugendstil, and International Modern Style to his masterpieces. In fact, these styles are explained in section two which is the â€Å"Critical Analysis†.Behrens’ buildings, Behrens House, A. E. G. High Tension Factory, I. G. Farben Offices, and New Ways are assigned particular styles based upon the way they were designed and the year in which they were built. The final section is the â€Å"Building Analysis†. Additional details are given for the Behrens House. These details are in terms of technicality, criticism, and building for the times. Based upon the findings of th is information, a Conclusion is drawn. Historical Background of the Architect Peter Behrens was originally from Hamburg, Germany. He was born in 1868.Behrens first profession was as a painter. However, graphic and applied arts appealed to Behrens more. Thus, he re-channeled his energy to those areas and steered away from painting. In 1899, an invitation to attend the Artists’ Colony in Darmstadt enabled Behrens to establish a leadership role there. Yet, he would not stay put for long. Behrens next venture was in Dusseldorf where he was employed as the Director of the Kunstgewerkeschule. It was an interim position that sparked Behrens’s interest in adding a unique geometric abstraction to his work (â€Å"Peter Behrens?† 2007). The 1890s was the time period when Behrens was located in Munich where he was employed as a painter and graphic artist. It is also when Behrens gained membership into the Jugendstil movement. However, it was not until 1893 that Behrens beca me one of the co-founders of the Munich Secession. Additionally, â€Å"He produced woodcuts, colored (sic) illustrations, designs for book bindings and crafts objects entirely shaped by the Jugendstil formal language† (â€Å"Biography: Peter Behrens† n.d. ). Artists and architects such as Augst Endell, Bernhard Pankok, Bruno Paul, Hermann Obrist, and Richard Vereinigte united forces with Behrens in 1897 to find â€Å"†¦the Vereinigth Werkstatten fur Kunst und Handwerk in Munich to produce handmade utilitarian objects† (â€Å"Biography: Peter Behrens† n. d. ). These contributions to society were just as the word utilitarian means: functional, practical, and down-to-earth. Consequently, Behrens displayed humbleness in his work as well.This side may also have been evident when Behrens joined forces in 1898 to design â€Å"Pan†, a Berlin journal as well as when he fashioned the first of his furniture designs (â€Å"Biography: Peter Behrens† n. d. ). At the same time that Behrens was creating unique architecture that stirred up a lot of talk and criticism, he was knee-deep in leadership roles. For example, â€Å"In 1899 Peter Behrens was appointed by Grand Duke Ernst Ludwig of Hesse-Darmstadt to the Mathildenhohe artists’ colony the Grand Duke had just established in Darmstadt† (â€Å"Biography: Peter Behrens† n. d. ).Naturally, having a position of such this caliber bestowed upon him by such a high prestige, this meant that Peter Behrens had earned respect, in addition to this honor, in the eyes of the Grand Duke. This could have been the reason why Behrens felt it time to build his own home. â€Å"Designed as a total work of art, â€Å"Haus Behrens† caused quite a stir; Behrens himself designed the architecture and the interior with all its appointments and furnishings down to the last detail† (â€Å"Biography: Peter Behrens† n. d. ). Accordingly, Behrens was able to implemen t the Expressionistic style into his home.Perhaps this inner-creativeness is what caused the AEG to become interested in Behrens. The time between 1907 and 1914 led Behrens’ life to Berlin where he became an artistic advisor to the AEG. It was during this period in his professional career that Behrens became known as the person who â€Å"†¦created the world’s first corporate image† (â€Å"Peter Behrens? † 2007, par. 2). Remarkably, Behrens’ work with the AEG was when he displayed a keen interest for designing architectural pieces that utilized the form and material found in the industry field.Moreover, Behrens’ work helped pave a path for others to follow. Therefore, he â€Å"†¦can be considered a key figure in the transition from Jugendstil to Industrial Classicism. ’ ‘He [indeed] played a central role in the evolution of German Modernism’† (â€Å"Peter Behrens? † 2007, par. 3). During the time fr ame between 1922 and 1936, Behrens was headmaster to the Vienna Akademie der Bildenden Kunste which is an architecture department where he also taught (â€Å"Biography: Peter Behrens† n. d. ). As a result, Behrens was able to play a significant part in the way Germans (and people, in general) perceive architecture.Furthermore, Behrens â€Å"†¦designed china, glass objects and patterned imoleum flooring for various companies. ’ ‘One of his last commissions, in 1938, was to plan a new AEG headquarters in Berlin’† (â€Å"Biography: Peter Behrens† n. d. ). This was, of course, all accomplished before Peter â€Å"†¦died in Berlin in 1940† (â€Å"Peter Behrens? † 2007, par. 4). Fortunately, Behrens was able to put many of his ideas into his architecture. In addition, he was able to demonstrate a high level of skill and technicality in his work. Critical Analysis One of Behrens’ first works was the Behrens House.It was designed in 1901 and is located in Darmstadt, Germany. The house is known for its fine dining rooms and music appeal. Its outline is one of the normal formats â€Å"†¦for a small burgeois house†¦Ã¢â‚¬  (â€Å"Behrens House† 2007, par. 1). However, â€Å"†¦its internal and external expression was unusual, particularly for its combination of features drawn from the English Arts and Crafts movement†¦with elements such as the high-pitched roof drawn from the German Vernacular† (â€Å"Behrens House† 2007, par. 1). In this sense, the word vernacular gives a strong indication that the German culture was evident in Behrens’ works.Vernacular is just another term for the word language. Thus, the Behrens House is characteristic of the Expressionistic style (explained later) as well as of Industrial Classicism which is basically an ideology in which human beings and machines can coexist. In this case, the word â€Å"machine† refers to bu ildings. Another of Behrens’ works is â€Å"A. E. G. High Tension Factory† (2007). The building was designed in 1910 and is located in Berlin, Germany. It is an industrial plant made of glass and iron. When Behrens created the building, he was able to incorporate a very unique and different look to it.â€Å"Behrens achieved a plastic effect and a dynamic form of construction of the trusses, which were pulled towards the outside, as well as through the tapering iron trusses and the glass areas which were drawn towards the inside† (â€Å"A. E. G. High Tension Factory† 2007, par. 1). This look aroused many other architects and caused them to criticize Behrens. In fact, â€Å"Luduig Hilberseimer wrote: ‘Peter Behrens is led astray by the imperialistic power consciousness of the prewar years and restrained by classical influences, and he thinks to add a facade to his turbine hall of the AEG at Moabit, an otherwise terse structure†¦Ã¢â‚¬  (â€Å"A .E. G. High Tension Factory† 2007, par. 1). However, Behrens’ work really demonstrated Expressionistic, Jugendstil, and Industrial Classicism styles. Yet, it was also represented of the International Modern Style. Did knowing these things stop others from criticizing Behrens’ works? No. Another architect also had strong words to say about Behrens. In fact, â€Å"†¦Erich Mendelsohn criticized the building [A. E. G. High Tension Factory}; ‘He pastes over the expression of tension, which the hall creates, with the rigidity of a repeatedly broken temple tympanon†¦Ã¢â‚¬  (â€Å"A. E. G.High Tension Factory† 2007, par. 1). However, this meant the work was characteristic of the Expressionistic style. This style was â€Å"A movement in the arts during the early part of the 20th century that emphasized subjective expression of the artist’s inner expressions† (â€Å"Peter Behrens? † 2007). Of course, the expressionistic style o ccurred around the World War I era. Perhaps the strains of the war created a stir within the architects’ souls because Behrens was not the only artist to take up this style; other German architects did as well (â€Å"Peter Behrens? † 2007).Consequently, maybe that is why some architects saw the beauty in Behrens’ masterpiece. â€Å"Le Corbusier†¦admired the structure as being a charged center, which represents the integral architectonic creations of our time—rooms with admirable moderation and cleanness, with magnificent machines, which set solemn and impressive accents, as the center of attraction† (â€Å"A. E. G. High Tension Factory† 2007, par. 1). This means that Behrens’ architecture was both Jugendstil and Industrial Classicism. Jugendstil is a cross between Art Nouveau and other unique styles (â€Å"Jugendstil† 2007).Art Nouveau is defined as â€Å"†¦a new form, an original artistic and decorative movement ins pired by the idea of ‘total art’† (â€Å"Introduction to Art Nouveau† 2007, par. 4). Behrens also put Jugendstil and Industrial Classicism styles into his offices. The I. G. Farben Offices were designed between 1920 and 1925. In fact, these buildings are located in Frankfurt, Germany. Behrens used brick masonry as the construction system for these commercial offices. He followed the Dutch Expressionist Modern style as well.This type of architecture was symbolic of both â€Å"†¦the theatrical play of light†¦Ã¢â‚¬  as well as â€Å"†¦the systematic use of slanting rafters which serve to disrupt the overall rectilinearity† (â€Å"I. G. Farben Offices† 2007, par. 1). Consequently, this building was reminiscent of the Expressionistic style as well. Again, in this style the artist puts his heart into his work. One of Behrens’ later masterpieces was New Ways. â€Å"In 1926 Peter Behrens designed ‘New Ways’, a pri vate dwelling in Northampton, which is regarded as an early example of the International Modern style† (â€Å"Biography: Peter Behrens† n.d. ). Carpenter (n. d. ) indicated, â€Å"Need and demand inspires Art. ’ ‘International Modern Style buildings appeared in the early post war in the form of many large industrial sized buildings’† (par. 1). During the years following the war, hospitals were needed for the injured and other buildings were needed to house soldiers after they were released from the hospital and before they could go home. Of course, this is mandatory when dealing with any war. However, back in the 1900s when World War I was occurring, people were not familiar with so many injuries.Thus, architects that were able to design establishments that would benefit the war contributed greatly to their countries. In fact, the German language was present in Behrens’ Behrens House, as indicated in previous sections. Building Analysis The Behrens House is unique in nature. It was built to become Peter Behrens habitat, where he could display his ideas into his work in detail. Moreover, the house was where Behrens thought of some of his greatest ideas. In fact, it was discussed at the Wikipedia website that, â€Å"†¦Behrens built his own house and fully conceived everything inside the house (furniture, towels, paintings, pottery, etc. ).’ ‘The building of this house is considered to be the turning point in his life†¦Ã¢â‚¬  (â€Å"Peter Behrens: Biography? † 2007). It was the time period when Behrens went to the Expressionistic style and re-directed many of the thoughts he put into his architecture from the Jugendstil style. During this period, Behrens also steered away from the Munich artistic circles for which he had grown acquainted. Behrens became temperate and rigorous in his style of designs (â€Å"Peter Behrens: Biography? † 2007). This was evident in the Behrens House. In fact, the construction system was made of brick and stucco facade, with a wood interior (â€Å"Behrens House† 2007).Thus, this gave the impression that Behrens had been serious when he built this home. It could have been the strain of involvement with so many different things or the toil that war can bring to even citizens of the war, whatever the case, Behrens House was amongst the first designs that took Peter Behrens in a totally different direction. This would be the Art Noueau style (â€Å"Behrens House† 2007). Of course, this style brings the total package of art designs to the home. So, what are the technicalities behind this design? Well, architecture itself is a technicality.Egan (1998) wrote, â€Å"In terms of architecture, before we decide how to build, we must decide what to build, and why† (par. 4). Peter Behrens decided that he wanted to construct a home and then he built Behrens House to be his home. At the same time, Behrens knew his safe-hav en would be the building ground for many of his ideas. This factor relates to Egan’s (1998) discussion in the fact that Egan said, â€Å"†¦the most challenging questions in architecture are not answered through laws of physics or engineering; they are questions of culture and psychology† (par. 4).Behrens became Expressionistic around the time of World War I. Since the details in his architecture were somber, one could say that Behrens had seen some horrors of the war that had found a place in his heart and came out in his designs. Even so, Behrens still portrayed the fact he was a German by having the German culture displayed in his work. This answers the question of culture. Psychology is answered by the fact that Behrens went from Jugendstil to an Expressionistic style of design. Do these attributes imply that technicalities existed in Behrens design? Yes. However, Egan (1998) mentioned,†¦the essence of architecture is not construction; instead it is the de sign of spaces for humans. It includes spaces for humans, for their activities, for their treasures, and for their aspirations. Architecture uses the physical world of construction to shape, order, structure, articulate, and embody our spaces and our beliefs. (par. 4) This statement, in itself, gives way to the fact that Industrial Classicism existed. Industrial Classicism was considered to be the style that connected man with machine. Thus, Behrens tied himself with his architecture by building his own home and then working out of it.What type of mentality did this suggest of Behrens? It could be noted that Behrens had a Cognitive pragmatics mentality. Tirassa (1999) pointed out, â€Å"Cognitive pragmatics is concerned with the mental process involved with intentional communication, that is, with the characteristics of the mind/brain that allow individuals belonging to the human (and possibly to other) species to intentionally communicate with each other† (1). If this is the case, then Behrens was able to communicate his thoughts and aspirations with the design of his home in 1901. Architecture does not rely on oral communication.Therefore, Behrens was able to effectively communicate his design style, which everyone did not approve of. In order to fully understand what this means, the assumptions behind cognitive pragmatics must be given. Tirassa (1999) wrote, â€Å"The first is that communication is best viewed as one form of social activity and that a theory of communication belongs therefore to the study of action and social action rather than of language or of the transmission of information. The second is that communication involves some form of active cooperation between participants. (1-2)In architecture, this may not be entirely true. For example, Behrens’ critics picked up on his rigid style by viewing his buildings and so did those who enjoyed Behrens’ work. Therefore, on social interaction had to take place for this to occur. Additinally, not everyone was in agreement that the Behrens House was one of the best pieces of architecture of that time. However, the design had people talking. Unfortunately, not all the communication was good—as criticism was evident amongst some of the discussions (discussed earlier). So, was Behrens House a building for the times?Yes and no. It is because Behrens designed the home to last. Not only that, Behrens House received a lot of talk and during a time when war rages, opening up some form of communication is better than keeping it all bottled in until it explodes on its own. The main reason is because when/if that tension explodes in a negative manner, no telling what type of additional problems it will cause. Behrens House was also a building of its time because it allowed Behrens to express himself in such a manner, that he helped others go on to achieve great things.This was evident due to the contributions of architectural teachings and creations of utilitaria n objects that Behrens brought to the world. On the other hand, Behrens design may not be the best building for all times. In the presence of war and ever-increasing technological advancements, Behrens House may not have been practical living quarters for a family on the move. In these times, houses can be built in a matter of days and those with a high degree of difficulty can be built in one week (as seen on ABC’s, Extreme Makeover: Home Edition). Yet, back in those days, houses could be quickly assembled as well.An article about snail-like homes surfaced around 1943. It indicated that buildings, called Ratio Structures had been created and the buildings were being tested in The Bronx. The article also pointed out that these buildings were, Built on small concrete piers†¦[and] is unique having its framework, like a snail’s, on the outside. The Structure is composed of two practically independent parts: 1) an arch-shaped roof made of insulated panels and supporte d by posts; 2) rooms, formed of demountable inner & outer panels (sic) which can be shuffled around at will under the roof.Thus the structure has no weight-carrying walls. (â€Å"Houses Like Snails† 1943). Consequently, these buildings were good for housing the injured and supporting the war. In fact, it was written that the â€Å"Large unites could be changed to meet the requirements of homes, hospitals, recreation centers, storage, schools, etc. † (â€Å"Houses Like Snails† 1943). These factors, alone, make Ratio Structures both durable and convenient for today’s times as well. Moreover, this statement is relative to current war issues. This is because the article also mentioned,Under (sic) wartime restrictions the panels are made of celotex and wallboard. But they could be made of any material. Having no weight-carrying walls, the Wiener-Sert system uses only 50% of the structural lumber and 80% of the metal permitted by WFB. (â€Å"Houses Like Snails † 1943) What do all these things suggest about Behrens and his art? More than meets the eye. Conclusion Peter Behrens was able to listen to his heart and design the desires therein. That speaks volumes of the man. Not too many architectures, let alone, people are willing to do something new.Many professionals and individuals, in general, are more concerned with what others might do, think, or say than they are with being different. Of course, World War I had a lot to do with the fact that Behrens changed the way he designed from the Jugendstil style to the Expressionistic style. Yet, what should be noted is that those were not the only two design styles of the architect. Behrens also created works that displayed the style of Industrial Classicism and International Modern Style as well. Therefore, Behrens House should be considered as groundwork to other masterpieces in his time.References â€Å"A. E. G. High Tension Factory. † Great Buildings. com. 2007. Kevin Matthews and Artifice, Inc. 17 May 2007 â€Å"Behrens House. † Great Buildings. com. 2007. Kevin Matthews and Artifice, Inc. 17 May 2007 â€Å"Biography: Peter Behrens. † n. d. 17 May 2007 â€Å"Jugendstil. † Senses Art Nouveau sprl. 2007. 17 May 2007 Carpenter, Steve.International Modern Style. n. d. 17 May 2007 Egan, Christopher K. Ideas in Architecture. 1998. Egan/Martinez Design. 18 May 2007 â€Å"I. G. Farben Offices. † Great Buildings. com. 2007. Kevin Matthews and Artifice, Inc. 17 May 2007 â€Å"Introduction to Art Nouveau. † Senses Art Nouveau sprl. 2007. 17 May 2007 â€Å"Peter Behrens?. † Answers. com. 2007. 17 May 2007 â€Å"Peter Behrens?. † Great Buildings. com. 2007. Kevin Matthews and Artifice, Inc. 17 May 2007 â€Å"Peter Behrens: Biography?. † Wikipedia: The Free Encyclopedia. 17 April 2007. Berne Convention. 18 May 2007 Tirassa, M. Communicative competence and the architecture of the mind/brain. 1999. Acade mic Press. 18 May 2007 â€Å"House of Snails. † Time, Inc. 24 May 1943. 18 May 2007

Promote learning Essay

In this area of play I believe it should be stressed that children should be praised as they have put a lot of work into something even if it is totally non-recognisable as anything, considering some of the most famous artists drew/painted in abstract and their work is widely appreciated. At this age creative activities will be greatly influenced by key stage one requirements. They will have creativity incorporated into the learning of other topics. They will be beginning to learn some creative skills and follow instructions to carry them out. Also children will be developing a wider concentration span and more advanced fine manipulative skills. Tassoni and Beith (2002 p375) state that between the age of four and six ‘Children are more interested in creating things e. g. making a cake, drawing cards and planting seeds. They enjoy being with other children although they may play in pairs. Children are beginning to express themselves through painting and drawing as well as through play. They are enjoying using their physical skills in games and are confident when running and climbing. Materials that can be used in creative play and that will also promote learning: sand and alternate materials, water, painting and drawing materials, malleable materials, adhesive materials, construction and scrap materials. At the beginning of the Foundation Stage children use their bodies to explore texture and space, this will develop towards the end of the Foundation Stage to children exploring colour, texture, shape, form and space in two or three dimensions. (Curriculum Guidance for the Foundation Stage curriculum early learning goal for exploring materials p121). At the beginning of the Foundation Stage children show an interest in what they see, hear, smell, touch and feel and towards the end of the Foundation Stage this develops to the children responding in a variety of ways to what they see, hear, smell, touch and feel. (Curriculum Guidance for the Foundation Stage curriculum early learning goal for responding to experiences and expressing and communicating ideas p127). 2. Imaginative play- imaginative play is a lot to do with role-play, it can be carried out for enjoyment purposes in everyday play and it can be incorporated by practitioners so the children can explore different situations and fantasy worlds and acting. At the beginning of the Foundation Stage children use isolated words and phrases and/or gestures to communicate with those well known to them and towards the end of the Foundation Stage children develop to speak clearly and audibly with confidence and control and show awareness of the listener. (Curriculum Guidance for the Foundation Stage curriculum early learning goal for language for communication p 55). 3. Physical play- ‘The term ‘physical play’ is a term that can be used to describe the type of play in which children use their large muscles and exercise their whole body. They learn to control large and small muscles and develop co-ordination and surplus energy is expended’ (Tassoni and Beith 2002 p 382). Physical play is where children are using their muscles (large and small)) for enjoyment purposes. There is a less called P.E (physical education) in which children can develop and refine their skills and muscles in different e. g. dancing, athletics, and climbing apparatus. During self-directed play, children can be physical in the following ways, rolling, balancing, skipping, sliding, hanging, running, kicking, jumping, hopping, pushing, pulling etc. there are ten areas of co-ordination in which children develop in: At the beginning of the Foundation Stage children should be able to negotiate an appropriate pathway both indoors and outdoors this will develop to the children showing respect for other children’s personal space when playing among them. This will eventually at the end of the Foundation Stage develop into the children showing awareness of space, of them and of others. Stage curriculum early learning goal for sense of space p109). Example of the three types of play and how they promote the desired learning 1. For an example of creative play, I am going to describe a play opportunity for this age group. Gloop is a mixture made simply from mixing corn flour and water in a bowl. A few additional resources that could be used are, smaller bowls, cups, plastic utensils (all of different shapes and sizes). It is a strange substance that can be made to different consistencies. When made with a lot of water it will be in liquid form when left dormant and will run through fingers when scooped up but when rolled between hands it will become solid and return to liquid when stopped. When made thicker it will be able to be sliced and it will slowly return to the original form. It can be picked up in a lump and will slowly drip/run. This activity I think is suitable for all ages that are a school, I have tried it with the following age groups, five, seven, ten and thirteen and was also enjoyed by adults. Children will begin to understand liquids and solids, shapes and sizes (through cups, bowls etc) and texture. The play opportunity ‘Gloop’ will help to encourage creative skills because it takes many forms, the children can experiment and explore the texture, the consistency and the properties of it. It uses a lot of fine motor skills, using the fingers and hands to pick up and roll, squeeze through and transfer to other containers. This will promote in the way of experience, the children will learn by doing. 2. An example of imaginative play. Creating a home corner would encourage child-led imaginative play. A home corner can be adapted to suit a subject that is being taught. In the home corner or separately there could also be dressing up clothes to assist in role-play. For this type of play this is an example of an imaginative play opportunity. The subject being taught is animals; the home corner is rearranged and decorated to resemble either a jungle or a zoo. This could also be linked with asking children questions about animals and what they’re characteristics are, they could also take turns in groups acting in general about the subject. A home corner would improve imaginative skills in children by encouraging them to participate in role-play activities. The children can make up their own games and enforce their own rules for the game. The children can work in groups or alone and can also dress up and use props to assist their game. Imaginative play can be linked with social skills as the children will be working in groups and pairs in child led activities and in structured activities led by an adult in the setting. These skills will be helpful in later life for the children to make healthy relationships. 3. One play opportunity for physical play is swimming some schools have pools on the property and use them for regular lessons, however for schools that do not have this facility can organise to go on weekly trips to the local pool or just as a one off. Swimming is a great way of exercising as well as good physical fun. Swimming uses all of the muscles in the body and can be developed and refined. Swimming can link with all of the ten areas of co-ordination. It is suitable for all ages particularly because there can be different classes for different abilities and there is always room to progress. Children with any sort of impairment can also join in as there should be helpers available and equipment that would aid them getting in and out of the pool. Swimming would improve physical skills in children by working all of the muscles at the same time and progressing at this. It will strengthen muscle including the heart; maintaining and developing bone density. It allows the children to exercise their whole bodies inside and out! There is also opportunity for fine motor development in the form of bricks and bands, which are thrown to the bottom of the pool at different depths, which the children have to collect. It is important to encourage children but not pressure hem as it may have adverse affects later in life. The role of the adult in all of the play opportunities is to supervise the children; it is also to provide any materials or equipment that will be needed. The adult will have to think about health and safety for the activity to make sure that no harm comes to the children. The adult will be there to explain what to do initially and be there to answer any questions the children may have. The adult will also ask questions to encourage the children to think about the subject more deeply; these questions will normally be open ended so the children’s answers will not be one-worded. The adult will also encourage the children to stick at the activity for a decent amount of time and to help the children to think up new ways of playing the game and to plan different rules.

Critically discuss the extent to which the duty to make reasonable adjustments has eliminated discrimination and inequality of opportunity faced by disabled individuals The WritePass Journal

Critically discuss the extent to which the duty to make reasonable adjustments has eliminated discrimination and inequality of opportunity faced by disabled individuals Introduction Critically discuss the extent to which the duty to make reasonable adjustments has eliminated discrimination and inequality of opportunity faced by disabled individuals ) Cases Archibald v Fife Council [2004] IRLR 651 Burke v Clinton Cards October 2010, ET/2900622/09 Chief Constable of South Yorkshire police v Jelic [2010] UKEAT 0491/09/2904 Nottinghamshire County Council v Miekle [2004] EWCA Civ 859 O’Hanlon v Commission for HM Customs [2006] IRLR 840 Tarbuck v Sainsbury Supermarkets Ltd [2006] IRLR 664 The Secretary of State for Work and Pensions v Wilson UKEAT/0289/09 Wilson v DWP [2010] EAT/0289/09 Wynn v Multipulse Electronics Ltd 22 October 2007, Case Number: 2301416/07 Government Report Equality of Human Rights Commission, ‘Equality Act 2010 Code of Practice’ Legislation Disability Discrimination Act 1995 Equality Act 2010 Website Rebecca English (The Daily Mail) â€Å"I was banished to the stockroom, says disabled shop girl now suing Abercrombie Fitch for discrimination† available at dailymail.co.uk/news/article-1192674/I-banished-stockroom-says-disabled-shop-girl-suing-AbercrombieFitch-discrimination.html accessed 9 May 2014 Equality Human Rights Commission ‘Reasonable adjustments’ equalityhumanrights.com/advice-and-guidance/education-providers-schools-guidance/key-concepts/reasonable-adjustments/ accessed 13 May 2014 Gov.uk, ‘Reasonable adjustments for disabled workers’ https://www.gov.uk/reasonable-adjustments-for-disabled-workers accessed 13 May 2014 HSE ‘The law’ hse.gov.uk/disability/law.htm accessed 13 May 2014 Samira Shackle (NewStatesman) ‘How legal aid cuts are harming the voiceless and most vulnerable’ (13 January 2014) newstatesman.com/politics/2014/01/how-legal-aid-cuts-are-harming-voiceless-and-most-vulnerable accessed 13 May 2014 Xpert HR, ‘Disability discrimination awards 2011/12’ xperthr.co.uk/quick-reference/disability-discrimination-awards-201112/114296/ accessed 9 May 2014