This week, you will interview an early childhood teacher or a speech pathologist on the topic of language development, including examples of children whose language development is outside the normal range; or you will interview the parent of a child with atypical language development. The goal is to expand your understanding of developmental differences in language development or atypical language development, and the impact on children and families you may potentially work with in the future.

(If you need help locating a speech pathologist, check the American Speech-Language-Hearing Association “Find a Professional: Online Directory of Audiology and Speech-Language Pathology Programs” at http://www.asha.org/proserv/ and enter your zip code.)

To complete the assignment:

Plan: Choose a person to interview – an early childhood teacher, speech pathologist, or parent of a young child with a speech or language delay or disorder. Explain that the purpose of the interview is for your own educational development, and obtain permission to tape-record the conversation. Here are tips for planning the interview:

  • Agree on a specific date and time. (Plan for 30 minutes.)
  • Use a tape recorder, as you did for the observations in Weeks 2 and 3. Test your recorder before the interview to be sure it works.
  • Review this week’s readings, particularly the “Speech and Language Impairments” fact sheet, to help prepare for the interview.
  • If you are interviewing an early childhood teacher, also read and review the following article for background: “What Early Childhood Teachers Need to Know About Language”
  • If you are interviewing a speech pathologist, also read and review the following article for background: “Speech-Language Therapy”
  • If you are interviewing a parent, also read and review the following article for background: “Delayed Speech or Language Development”
  • Click on the link below to download, print out, and review the document you will use to record your interview, which includes sample questions to ask:

Part 4: Developmental Leaps and Lags Interview Guide

  • Review the appropriate questions in advance. You may want to ask the introductory questions when you are setting up the interview, to get a sense of the person and his or her experience before the interview.
  • Think about other questions that are not on the list that you would like to ask.
  • Take notes during the interview on key points you want to remember.
  • Be respectful of your subject’s experiences and points of view.
  • Remember to thank your interview subject for his or her time.

Interview: Ask questions from the Interview Guide. Listen carefully to the person’s answers. You may need to ask for an example to clarify a point, or follow up with a “why” or “how” question. Although you will record the conversation, also take notes on the person’s answers. Some additional guidelines:

  • Keep your attention focused on the interviewee.
  • Remember that this is one person’s experience and perspective. Although it can be informative and instructive, keep that uniqueness in mind as you listen to and later reflect on the interview.
  • Be respectful of the person’s time. Stick to the time period you agreed to for the interview. Be sure to thank the person for his or her cooperation.
  • Remember that this interview experience is intended as a chance for you to learn.

Reflect on the interview. Review your notes and listen to the tape recording of the interview as necessary to complete the following:

  • Write one or more pages summarizing the interview. Describe the background of the person you interviewed and his or her experiences as an educator working with young children, as a speech pathologist, or as a parent of a young child with a speech delay or communication disorder.
  • Share insights you gained from the interview. In particular, summarize new knowledge, identify any assumptions you held before the interview that were dispelled, and discuss information you learned that surprised you, and explain why. Compare what you learned in this interview with what you have been learning in the course. And finally, describe anything that was raised in the interview that you would like to learn more about, and why.

Note: Do not use the real names of the interviewee or the children or families discussed in the interview. Use only first names, initials, or fictitious names to protect their privacy.

Assignment length: 2–3 pages

due in 12hrs please have it back in time

APA format

All orignal work please

Baroque Style” Please respond to one (1) of the following, using sources under the Explore heading as the basis of your response:

  • Listen to one (1) composition that demonstrates the qualities of the Baroque musical style. It may be from the Websites below or from this week’s Music Folder. Identify your choice, and describe it by relating key terms from the textbook to your selection. Explain what you like or admire about the work. Compare it to a modern soundtrack or song that evokes a similar mood.
  • Select two (2) Baroque style paintings from the Websites below that no other student has selected. Identify each as to artist, date, and title or description. From the summaries of the Baroque style’s features in our class text, identify specific key aspects of each painting that fit the Baroque style. Explain why you selected each and what you like or dislike about it. Compare this style to a modern film, type of film, or to a modern situation.

Explore:

Monteverdi and Vivaldi


Baroque Visual Arts

The assignment is to create a three page critique of the article “When Altruism Isn’t Moral,” by Sally Satel. The critique should identify the thesis, method the author is using to support the thesis, the audience, tone, bias, manipulation, believability, and support of the thesis.

 

Use this link to locate the article.

https://www.aei.org/publication/when-altruism-isnt-moral/

 

***MUST be written on a Masters/PhD level!***

 

Paper Requirements

The analysis requires the additional components:

·         One web reference.

·         Three APA formatted short quotes used to support the paper.

·         One APA formatted figure.

·         APA formatted paper including:

o   Font: Times New Roman, 12 point, and double-spaced.

o   Margins: One-inch margins, all around.

o   Indents: One-half inch indent as to begin a paragraph.

o   Proper APA citations and references.

o   Proper use of Level 1 headings as to label the introduction, main body, and conclusions segments.

o   Proper use of Level 2 headings as to label the sections within the main body and conclusions.

o   A proper title page.

o   A reference page utilizing hanging indents and alphabetized by the last name of the first author.

·         Free of spelling errors and minimal use of passive voice.

Guidelines

 

Paper  is based on one novel , Frankenstein. We have

learned that one element crucial to horror stories is a monster. After reading the

 

entire novel , you will write a two- to three-page paper analyzing whether Victor Frankenstein or the

 

 

creation is the true monster in the novel. You must pick one. Then state three

reasons/actions why he is the monster.

 

DO NOT:

 

 

o Claim they are both monsters

 

o Claim that neither is

 

o Claim that there is no monster because Victor is hallucinating, has

a split personality, is dreaming, etc.

 

o Claim that the real monster is abstract/philosophical–narcissism,

society, nature vs. nurture, etc

 

These are all innovative and great and may make a great essay but that’s not

 

 

the assignment. You must make a claim that Victor is the true monster

OR his creation is the true monster and support your claim.

 

Even though it is your interpretation of who the monster is, when you write

 

academic essays, you are really asserting a claim and attempting to convince

 

readers to agree with your stance. To do this effectively, it’s best to create a

 

more objective tone, pulling back on personal statements and writing in terms of

 

what Shelley intended and how readers in general perceive/infer the information.

 

In other words, avoid statements like: “I think the monster is really Victor

 

Frankenstein.” And use statements like: “After careful analysis of Shelley’s

 

characters, readers agree that Victor is the true monster of the novel.” Also, a

 

major pitfall to avoid: Do not claim that the monster is Victor then focus on the

 

creation in the body of the essay and why the creation is not the monster.

 

Throughout the semester, I have been posing questions on the Discussion Board

 

that you have been responsible for. You were then required in some weeks to

 

respond to a peer’s answers. The purpose of this is to cultivate interaction among

 

peers as you are working in such solitude when in an online environment.

 

However, I know that it is hard to routinely read a lot of what your peers have to

 

say. So this second paper is the one opportunity for you to truly HEAR several

 

angles of a discussion, much like in a traditional classroom, and assimilate the

 

opinions of your classmates.

 

For the essay, after you first come to your own observation about who the true

 

 

monster is then read through a handful of each of the four Frankenstein

discussion threads (Storyline Shift, Victor Frankenstein, The Creation, and

 

Frankenstein Finale). Find a few posts that support your observation. You do not

 

need to read through all of the posts for each thread but read through enough to

 

 

help inform your selection. Throughout your essay you will need to include at

least three quotes from two different threads (one per body

 

paragraph/reason). These quotes need to support your claim. In other words, if

you claim that Victor is the monster, don’t include a quote by a peer that focuses

 

on the monster’s compassion. Also, be sure to give the poster credit. For

 

example: “According to her post on the Discussion Board, Suzie M. supports the

 

idea that the creation is the true monster with this statement: ‘The creation’s

 

senseless, vindictive killing of William is proof enough that he’s the monster.’”

 

Remember, your quotes should be

 

 

• Relevant—supporting your claim

 

• Credited to a specific name—not just one student wrote

 

• Varied—avoid quoting the same student

 

• Short—fewer than three lines of text

 

• Embedded in the paragraph—not set off on their own

 

You may also include a maximum of two short quotes from the actual novel.

These are not required but you can include them as additional to your three

 

required thread quotes. The same rules above apply (shorter than three lines,

 

embedded in paragraph, relevant, and attributed to Shelley).

 

I expect that you will write complete, coherent sentences paying special attention

 

to your grammar and spelling. Just because the paper is short and labeled

 

informal does not mean you can pass in sloppy work. There should be a short

 

introduction (identifying the novel and author) with a thesis, body paragraphs and

 

a closing. In order to maintain some structure and organization and avoid the

 

essay veering off on too many tangents, create a firm, three-part thesis to help

 

guide you and your readers. To do this, come up with three reasons why Victor

 

or the creation is the monster. Then use these three reasons as the basis for

 

three individual paragraphs. If you need clarification on something, post it on the

 

discussion board or email me. See the outline and sample Intro below.

 

In terms of logistics:

 

 

 

 

 

 

 

 

• 2 – 3 pages, 1 inch margins all around

 

• 12 point Times New Roman

 

• Double spaced.

 

 

 

• Standard essay formatting—indented first line paragraphs, no extra space

between.

 

 

In essence, you are writing a five-paragraph essay. Here is a sample

 

Introduction. Then what follows is an outline that will guide you through the

 

structure of this essay very easily to ensure success.

 

Sample Introduction

 

All horror stories have monsters. Some are supernatural while others can

 

take on the human form. Authors shape their characters through their actions

 

allowing readers to identify the true evil in the story. In her iconic novel,

 

 

Frankenstein, May Shelley gives readers an abundance of information for two of

the three main characters, Dr. Victor Frankenstein and his creation, blurring

 

many lines as to who is good and who is bad. After careful analysis, readers do

 

ultimately come to the conclusion that the creation is the true monster because

 

he kills William to exact revenge, he frames an innocent girl for his actions, and

 

he blackmails Victor to create him a mate.

 

I. Intro

 

A. An introductory paragraph that ends with a thesis statement

 

that PREDICTS, CONTROLS, and OBLIGATES (check out file in

 

Writing Files). Intros are short and to the point. Start with a broad

 

statement about monsters, then introduce the author and story, then

 

end with the thesis statement—THREE reasons why VF or the

 

creation is monster—focus on ACTIONS.

 

II. Body

 

A. Paragraph—Reason #1

 

1. Topic/Transition sentence

 

2. Expand on reason

 

3. Introduce evidence—quote from one of the threads

 

4. Explain how quote supports reason

 

5. Closing sentence (don’t introduce new reason)

 

B. Paragraph—Reason #2

 

1. Topic/Transition sentence

 

2. Expand on reason

 

3. Introduce evidence—quote from one of the threads

 

4. Explain how quote supports reason

 

5. Closing sentence (don’t introduce new reason)

 

C. Paragraph—Reason #3

 

1. Topic/Transition sentence

 

2. Expand on reason

 

3. Introduce evidence—quote from one of the threads

 

4. Explain how quote supports reason

 

5. Closing sentence (don’t introduce new reason)

 

III. Closing

 

A. Short paragraph summing up your paper. Restate your thesis

 

and reasons.

 

###

 

RECAP

 

 

Select Victor Frankenstein or the creation as the monster

 

 

Determine three reasons why Victor or the creation is the monster

 

Include three quotes from two different threads that support your

reasons (one each)

 

Two to three pages typed, double spaced

 

 

 

 

Part 1: Take a look at the Literary Timeline in Lessons. Choose any work that we have read in this class and examine some of the historical events preceding its publication, according to the timeline. Discuss how one or more historical event that takes place no more than 20 years before the publication of the work might be seen as influencing the theme or overall message of the work.

 

Part 2: “Yet Do I Marvel” contains many classical references. Look up the meaning of one of them. Explain what that reference contributes to your understanding of the poem. How does it relate to the overall message?

 

Part 3: “The Negro Speaks of Rivers” also connects a people to a symbol that is timeless and ‘of the earth’. This is not the first work we’ve seen that discusses rivers. Water is a symbol in many works. Discuss how it appears in Hughes’s poem and in two other works we’ve read this term; what does water seem to represent in these works?

 

Submission Instructions:

Your initial discussion should be at least 200 words. It must include MLA citations – both in-text and an end citation.

 

For this short diagnostic, you will write a paragraph response to the selection below and the following question.

Prompt: Write paragraph response to Joy’s essay. In your paragraph, explain why she does not feel successful despite her achievements as an author and editor, and then explain what suggestion she makes at the end of her essay: what does she ask her readers to do?

 

 

 

Excerpt from “Failing, Fragility, and Making Things”

Eileen Joy

 

[Eileen Joy has a PhD in medieval studies and teaches at the University of California, Santa Barbara. She is the founder and chief editor of the publishing company Punctum Books, an associate director for the record label Punctum Records, the author of ten nonfiction books on the Middle Ages, and a frequent guest lecturer on the value of the humanities in education.]

 

I never have time to myself anymore; I don’t even know what “time to myself” would look, or feel, like. Somehow, I have a partner who sticks by me, even though to be “by me” has increasingly fewer and fewer returns, for I have retreated into a world where I work obsessively and at a fever pitch, with little regard for my own health, my own sanity, or anyone close to me who might need a more generous share of my focused attention. I have let many friendships lapse, I have let many emails and phone calls go unattended, I have let many students down who needed a closer look at their writings, and yet this work, perversely, brings me great joy — I feel most alive when I am doing this work, and when I am in transit and on the move, when I am meeting new people, when I am taking risks to test out new ventures, new ideas, new collaborations, I am most happy.

 

The thought of settling, of staying in one place, of adopting any routine whatsoever, fills me with dread. I worry sometimes that I am a risk junkie — I’ve never liked to ski downhill or jump out of planes or race cars (I’m not that kind of risk junkie), but truth be told, I like making dangerous leaps and going where, supposedly, only fools rush in. I like testing out certain waters without a life-jacket, and if someone, or several someones, tell me that’s not such a good idea, it just encourages me to do it even more. Somewhere, in some manual, there is probably a listing for this kind of behavior as some sort of “disorder,” but I find it exhilarating, enlivening. It’s like falling in love. Over and over again. Since conventional social life discourages us from falling in love too much, or too often, with persons (one of the tragedies of our shared experience), I’ve given myself permission to fall in love with things and ideas, with projects, with other people’s books, with other people’s desires to accomplish something. I live in the space(s) of what other people want, and for the most part, I am happy there. After all, this is what I want, too. This is not altruism; it is sheer desire.

 

What prompts me to share this? Several things. One is the fact that, even though I kind of suspect that many people would describe me as a “successful” person, I nevertheless don’t feel successful very often.

 

I’m not saying I never sit back and reflect that I’ve accomplished some things (I know I have), but indeed, most days I torture myself with thinking about all of the things I have failed to do. For every book I edit, and for every essay I write, there are several more that I have failed to edit, and failed to write. For every deadline I make, there are several I fail to make. I forget to mail checks, I put off filing my taxes, I don’t call my parents enough, I can’t read all the books I feel I should read, I don’t pet my dogs enough, I miss doctors’ appointments, I neglect the boxwoods and roses in my garden, I rush down streets without raising my eyes to meet the gaze of others, etc. — and yes, we are all feeling this sense of how we could do more, do better, every day. This is human, after all, but so-called professional “failings” can feel more acute. So, for every person who thinks I am dependable and trustworthy as an editor or an author, there are at least four times as many who think I am a liar and incapable of “getting the job done.” I don’t know how to say “no,” I want to say “yes” to everything, and I often do. It gets me in trouble. I can’t tell you how many grant applications I have written (and some, I have received) for books that will never be written and archival research that will never be undertaken. I know I’m not the only one who has this problem, although I feel we often hide this fact of our lives from each other because it is often too painful to admit that we cannot “keep up,” that we cannot meet all of our obligations, that we are letting our colleagues down, that we are not the intellectual superheroes we would like to imagine we are.

 

Let us reflect on this and be kinder to each other when we do not meet our obligations. Not meeting our obligations is part of what we do. It is human. It is to be expected. So the next time someone misses a deadline you have imposed, let it go, and sweetly. They do not mean to offend you, or to let you down. They have come up short and will torture themselves enough for that without your assistance.

~~~~~

 

 

 

Choose a different author from the list below for each question. Use each author only once.

 

A. F. Scott Fitzgerald (“Babylon Revisited”)      B. Willa Cather (“Neighbor Rosicky”)

 

 

 

1. How would you describe the protagonist in the work of your first author?  Clearly identify three of the protagonist’s most important characteristics and supply examples that support your idea.

2. Using the definitions from the course lectures, discuss how the idea of naturalism or modernism is depicted in your author’s work. For naturalism, you will be looking for ways that the characters are portrayed as victims of their society or economy.  For modernism, you will be looking for ways the text challenges traditional ideas and/or portrays the failure of the American Dream.  Give examples of the particular period you find in the story or poems.

 

  1. Write a 250-word (minimum) response to each writing prompt below. You must meet the minimum word count for each response to get full credit.
  2. Use only the assigned readings unless otherwise instructed.
  3. Your responses must include quotes from each text used to get full credit. Be sure to quote, cite, and reference from the text(s) using appropriate APA format. For assistance with APA citations, review the “APA Format” link (go to “Start Here” and then “Course Resources”).
  4. Put all writing assignments in ONE Microsoft Word document, and identify your work by using your last name in the file name (example: LastnameWeek1.docx)

Hello I need this done, below I will post the instruction of my professor.

 

First, consult this page for help: https://owl.english.purdue.edu/owl/resource/618/01/
You must discuss at least three different writers and at least two different movements (e.g. Romanticism and Modernism).
In your essay, you will analyze works of literature that you have become interested in enough to spend several days with it, reading and thinking deeply, and transforming that reading and thinking into a form of written communication with a reader–in this case a teacher and fellow students.
In a sense, this is a comparison/contrast paper. However, the purpose is not merely to show that you can compare and contrast, but that you understand some of the basic ideas of literary history and how disparate works embody their zeitgeist (spirit of the age.) Ultimately, your paper is an argument. You will argue that each separate literary work belongs to its period and does not belong in another period, even though there are obvious comparisons.
(An obvious, but more difficult counterpoint would be to argue that a literary work does not belong in its assigned category.)
Parts of the course have been devoted to a discussion of the transition from the European Enlightenment to Romanticism, or from Romanticism and Symbolism to Modernism. Irrespective of their nationality, period or movement, all of our writers themselves make an argument. Sometimes they contradict one another; other times they agree; but at all times they express concerns that are distinct from those of other writers. Starting with one writer,
1)summarize his or her argument. (That is, what are these people saying?) Use transitional statements such as “Unlike Baudelaire” or “Like Nietzsche, Eliot thought that …”
and 2)make sure that I know that YOU know why one writer is a Romantic and another a Modernist, or whether he or she deserves a special category. For example, our Chinese and Japanese writers do not fit into any European framework. However, they must have something in common with the European writers; what is that similarity and what are the differences?
Make sure that you quote from every author, using MLA format. You may also employ (via quotation or paraphrase) the book’s sections on the different movements/periods, but you must credit them when you do.
SOME POINTS TO REMEMBER
1)Don’t tell me anything about authors themselves. Their biographies are public record, so I can look it up myself. What I cannot look up is what YOU think–how your brain works. This is what interests me and any other reader.
2)Make sure also that this is your OWN WORK. The paper that emanates from the assignment is is not group work. This does NOT mean that you cannot discuss your work with others. In fact, I encourage you to ask others to read and critique your work. However, I will be on high alert to excessive similarity in diction, syntax, organization, etc. I also employ the plagiarism database turnitin.com.

The following is a classic distributive bargaining scenario, wherein each party is attempting to maximize their gains at the expense of the other. In this situation, Michelle is interested in purchasing a Toyota Highlander. Michelle has two dealerships to choose from (Toyota of Louisville and Green Tree Toyota). Although she has no desire to travel a long distance, there are dealerships in Cincinnati, Ohio and Indianapolis, Indiana that she could represent as alternatives as well. Michelle decides to visit Toyota of Louisville first and finds the vehicle she wants – a 2013 Toyota Highlander.

The Manufacturer’s Suggested Retail Price (MSRP) for the vehicle is $29,865, while the factory invoice (the price paid by the dealership for the car) is $27,929. While Michelle only knows the MSRP for the vehicle, the dealer knows both the MSRP and the factory invoice price. Michelle has a trade-in, but she is unsure of whether or not to let the dealer know this, as she is unsure of what impact this will have on the dealer’s initial offering price.

 

  1. What should Michelle’s negotiation strategy be (e.g., how much information should she share concerning where she is in the buying process, that there is a vehicle trade-in, that she is looking at other dealerships as well, that she knows the MSRP, whether and how much deception is ethical/allowable, etc.)
  2. What do you expect the behavior of the salespeople to be when Michelle visits the Toyota dealership?
  3. Develop a negotiation plan, including the characteristics of the opening offer, reservation price, tactics, tradeoffs, they should make, how to react if the seller bring up issues before you are ready to discuss them (such as whether you have a trade in vehicle). Do you have a Plan B if your original plan becomes untenable?

 

The requirements below must be met for your paper to be accepted and graded:

  • Write between 750 – 1,250 words (approximately 3 – 5 pages) using Microsoft Word in APA style, see example below.
  • Use font size 12 and 1” margins.
  • Include cover page and reference page.
  • At least 80% of your paper must be original content/writing.
  • No more than 20% of your content/information may come from references.
  • Use at least three references from outside the course material, one reference must be from EBSCOhost. Text book, lectures, and other materials in the course may be used, but are not counted toward the three reference requirement.
  • Cite all reference material (data, dates, graphs, quotes, paraphrased words, values, etc.) in the paper and list on a reference page in APA style.

References must come from sources such as, scholarly journals found in EBSCOhost, CNN, online newspapers such as, The Wall Street Journal, government websites, etc. Sources such as, Wikis, Yahoo Answers, eHow, blogs, etc. are not acceptable for academic writing.