During Phase Two of the project, the students undertook the following tasks: they conferred with a professor of physical education; conducted interviews with selected school officials; engaged in a content analysis of those initial school interviews; gathered all of the findings from their readings and their interviews and summarized then for public presentation; and developed two comprehensive surveys (i.e. one for the students, and the other for the teachers and staff). Moreover, they learned about the history of field usage at the school through interviews with older community members. The students discovered that the current limitations on field usage were a relatively recent phenomenon; that, at one point, the fields had been open to all grades. They also advanced their own civic knowledge when they learned about the school administrative structure. They discovered that the curriculum specialist was actually in charge of teacher and staff assignments during recess, not the principal. In addition, they ascertained that there were state regulations in regards to recess staffing ratios and teacher and staff contract restrictions on imposing additional recess duties on school personnel. Collecting this information extended their civic knowledge as they began to explore the agencies and organizations that played a role in field maintenance, use, and scheduling. After interviewing the school physical education instructors and learning about their need for field space for certain curricular units, they also began to realize the important role that negotiation and compromise would play in order for them to be successful. And, finally, they further examined the concept of democracy and democratic decision-making as part of their group efforts and during the distribution of tasks as they progressed over the course of the semester. In short, they enhanced their civic knowledge of democracy, the school structure, and the relationship between school policies and state law while also garnering new civic skills such as interviewing, active listening, composing survey questionnaires for differing populations, and compiling several sources of data. They also acquired a variety of important group skills, including engaging those with different perspectives, planning and running meetings, and identifying and addressing future challenges.
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In this investigation of the relationship between structure and function in a practitioner-led research alliance, we explore the boundaries and assumptions framing community-university partnerships and how these are impacting the effectiveness of engagement within this particular case. This analysis provides a glimpse of the experiences of academics and practitioners as they try to negotiate the differences and demands of their professional cultures while also creating a space for genuine engagement. Our goal is to further understand the challenges and potential of community-university engagement to build and mobilize knowledge about emerging and complex social movements.
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Faculty also encouraged students to explore the limits of their self-confidence by engaging in what were for the most part unfamiliar physical challenges through a variety of Challenge Course elements. By doing so, faculty hoped to establish the community group as a safe arena for taking risks without fear of failure, knowing this would likely energize the semester’s discussions by encouraging students to express divergent opinions and perspectives while overcoming their conditioned fear of failure (exceed self-imposed limitations), which serves only to limit our ability to learn and achieve.
Free Carver Cathedral Essays and Papers - 123HelpMe
The 'Orfeo' of Messer Angelo Poliziano ranks amongst the mostimportant poems of the fifteenth century. It was composed at Mantua inthe short space of two days, on the occasion of Cardinal FrancescoGonzaga's visit to his native town in 1472. But, though so hastily puttogether, the 'Orfeo' marks an epoch in the evolution of Italianpoetry. It is the earliest example of a secular drama, containingwithin the compass of its brief scenes the germ of the opera, thetragedy, and the pastoral play. In form it does not greatly differfrom the 'Sacre Rappresentazioni' of the fifteenth century, as thosemiracle plays were handled by popular poets of the earlierRenaissance. But while the traditional octave stanza is used for themain movement of the piece, Poliziano has introduced episodes of, madrigals, a carnival song, a , and, above all,choral passages which have in them the future melodrama of the musicalItalian stage. The lyrical treatment of the fable, its capacity forbrilliant and varied scenic effects, its combination of singing withaction, and the whole artistic keeping of the piece, which neverpasses into genuine tragedy, but stays within the limits of romanticpathos, distinguish the 'Orfeo' as a typical production of Italiangenius. Thus, though little better than an improvisation, it combinesthe many forms of verse developed by the Tuscans at the close of theMiddle Ages, and fixes the limits beyond which their dramatic poets,with a few exceptions, were not destined to advance. Nor was thechoice of the fable without significance. Quitting the Bible storiesand the Legends of Saints, which supplied the mediaeval playwrightwith material, Poliziano selects a classic story: and this story mightpass for an allegory of Italy, whose intellectual development thescholar-poet ruled. Orpheus is the power of poetry and art, softeningstubborn nature, civilising men, and prevailing over Hades for aseason. He is the right hero of humanism, the genius of theRenaissance, the tutelary god of Italy, who thought she could resistthe laws of fate by verse and elegant accomplishments. To press thiskind of allegory is unwise; for at a certain moment it breaks in ourhands. And yet in Eurydice the fancy might discover Freedom, the truespouse of poetry and art; Orfeo's last resolve too vividly depicts thevice of the Renaissance; and the Mænads are those barbarous armiesdestined to lay waste the plains of Italy, inebriate with wine andblood, obeying a new lord of life on whom the poet's harp exerts nocharm. But a truce to this spinning of pedantic cobwebs. Let Mercuryappear, and let the play begin.