Summer of Love - 3032 Words

The Summer of Love The 1960s was a decade of political and social upheaval. The counterculture, which was what the decade was called, became disappointed with all the restrictions and conventions of the straight society. The Summer of Love did not occur until 1967, but the decade was inspired by the Bohemian spirit which was already present in the 1950s; known as the Beat generation. The counterculture gained significant influence in liberal cities such as Berkley and San Francisco. In 1967, Scott McKenzie released his song San Francisco and with this song came rumors of a huge love-in in the summer. This is what fueled the Summer of Love. Leaders of the counterculture in the Haight-Ashbury district were anxious to start planning an†¦show more content†¦As Ken Kesey would work night shifts at the hospital he had access to the drugs and would perform controlled experiments on himself. LSD was only available through pharmaceutical company, Sandoz in New York. Sinclair wrote, à ¢â‚¬Å"Using his homemade laboratory in Berkley; a student named Augustus Owsley Stanley III manufactured what he claimed to be enough LSD for a million and half doses† (Sinclair 200). They became widely known and soon fell to Leary. Owsley would soon become the Pranksters’ chemist, supplying the active ingredient fro Kesey’s organized events called acid tests. These acid tests soon became advertised events in public halls. In January 1966, two thousand people attended one at San Francisco’s Fillmore Auditorium and the Warlocks (now the Grateful Dead), provided the music and Kesey wired the place with speakers, cameras, and TV screens for them to replay. Leary would become one of the most famous countercultural figures in this era along with Ken Kesey. LSD was a huge part of the spiritual and music scene of the Summer of Love. There was one church which was Tim Leary’s League for Spiritual Discovery; he wanted to keep his religion pure and aloof from social structures. He described it as evading the law, â€Å"We’re not a religion in the sense of the Methodist Church seeking adherents. We’re a religion in the basic primeval sense of a tribe living together and centered around shared spiritual goals† (Miller 8).Show MoreRelatedHaight Ashbury In the 1960s: A Vibrant Hippie History Essay950 Words   |  4 Pagesthought to be an idea of the Summer of Love. Haight Ashbury and its history has been an amazing phenomenon to many visitors. I have found that many people have visited to see the art, learn about the culture, and even hear about what kind of music everyone was obsessed with. Haight was named a â€Å"Vibrant Hippie History† because of its bright colors and very artsy buildings. In 1967, Haight formed the famous heyday, which included the infamous â€Å"Summer of Love.† This â€Å"Summer of Love† included a very psychedelicRead MoreAnalysis of Summer of the Seventeenth Doll1483 Words   |  6 PagesSummer of the Seventeenth Doll, by Ray Lawler was a ‘bottling’ performance. A highly effective use of lighting, set design, props and additional sensory stimulus; were powerful tools in creating a realistic production. The skilful use of the elements of drama; human context; language, movement, mood and dramatic tension, enabled the audience to relate to the characters and plot. The development of sub -plots also added to the creation of a realistic performance, by mirroring the human condition. ThroughRead MoreThe Hippie Movement of the 1960s Essay example646 Words   |  3 PagesThe hippie subculture was originally a youth movement beginning in the United States around the early 1960s and consisted of a group of people who opposed political and social orthodoxy, choosing an ideology that favored peace, love, and personal freedom. The hippies rejected established institutions, criticized middle class values, opposed nuclear weapons and the Vietnam War, were usually eco-friendly and vegetarians, and promoted the use of psychedelic drugs. They created their own communitiesRead MoreIs Jesus Christ? My Personal Savior?956 Words   |  4 Pagestook off the summer of my junior year in high school. Growing up, there were multiple times where I prayed to give my life up to God. I had a wonderful youth group down the street where I grew up, and my youth pastor really inspired me to exp lore Christianity, and what it means to walk with Christ. The summer of my junior year I was fortunate to be a councilor in training at Camp Firwood, located in Bellingham, Washington. It was hard work but it gave me the opportunity to spend me summer devoted toRead MoreThe Summer Of The Mariposas1236 Words   |  5 PagesIn the book The Summer of the Mariposas, there is a connection with an Ancient Greek story called the Odyssey. Some characters are also similar in both stories. The witch Cecilia and the Greek witch Circe can have connections with appearance, with actions, and with the rest of the influence on the story. Circe had great influence and many similarities on the Summer of the Mariposas witch, Cecilia. This is something of great importance, and will show how this similarity can be seen with other charactersRead MoreResponse to 13, 1977, 21 by Jonathan Lethem627 Words   |  3 Pagessentences of Lethem’s essay is where he blatantly tells the readers that he†™s watched Star Wars twenty-one times in four months. He then uses the next three paragraphs to reflect on the circumstances surrounding his trips to the movie theater in the summer of 1977 and trying to understand what triggered him to go all twenty-one times. He describes the theater he watched the film in, down to the street in Manhattan it was on, and the interior of the theatre, that he explains was â€Å"a superior placeRead MoreThe Recreation Center Supervisor : How Will You Know When You Have Reached Success?1594 Words   |  7 Pagesoverall strategic planning, revenue generation, financial management, organizational development, and program operations. I became proficient at all aspects of non-profit management, including marketing, directing staff, developing new programs such as summer and after school program, development of a 12 week Spanish as a second language program for adults. Concerned about the needs of education for small farmers, I developed a program with the support of the North Carolina Agricultural and Technical StateRead MoreThe Recreation Center Supervisor : How Will You Know When You Have Reached Success?1551 Words   |  7 Pagesachievements in overall strategic planning, revenue generation, financial management, organizational development, and program operations. Proficient at all aspects of non-profit management including marketing, directing staff, developing new programs such as summer and after school program, development of a 12 weeks Spanish as a second language program for adults. Concerned of the needs of education for small farmers, I developed a program with the support of the North Carolina Agricultural and Technical StateRead MoreSelf Evaluation Essay630 Words   |  3 Pagesthink I can explain why I do this, but I will try and do so anyway. I have had one girlfriend in my life time, that is it. I went out with her for a little over a year from the time I was 15 until I was 16, so pretty much from the summer of my freshman year up until the summer of sophomore year. I have had many, many crushes since then but none of them have gone anywhere, this is because of my problem. When I meet a new girl I start to talk to her and hang out with her until I feel that something mayRead MoreLove And The Beauty Of Summer By William Shakespeare894 Words   |  4 PagesIn â€Å"Shall I compare Thee to A Summer’s Day†, William Shakespeare compares his love interest to the beauty of summer. â€Å"Shall I Compare Thee To A Summer’s Day†, is a Shakespearean Sonnet. The poem is written in iambic pentameter, a rhyme scheme where each line consists of ten syllables that are divided into five pairs called iambs. An iamb is a metrical unit made up of one unstressed syllable followed by one stressed syllable. Common in many of Shakespeare’s poems, the iambic pentameter gives the poem

The Degree Of Auditor Responsibility For The Detection Of...

The degree of auditor responsibility for the detection of fraud has been re-defined repeatedly over the history of audit and is still generating considerable discussion in recent years, at the hand of financial crisis and a number of huge scandals, such as Enron – WolrdCom – Parmalat – Satyam Computer Services, which caused auditing to become headline news, and therefore widened the expectations gap between the audit firms and the public, and raised further questions about the audit value to society. â€Å"In the 19th century, detection of fraud was an audit objective and it the auditor had a duty to report to shareholders all dishonest acts, which had occurred, and which affected the propriety of the contents of the financial statements†Ã¢â‚¬ ¦show more content†¦Numerous surveys in the 1980s have served to underline the significance and extent of fraudulent activities in the corporate sector (Humphrey and Turley, 1993, pp. 39-62). â€Å"The auditor has a duty to search for fraud and is expected to detect fraud by the exercise of professional skill and care† (Rittenberg and Schwieger, 2005). As a result of all the recent fraud scandals in large corporations and fraud cases, investors concerns about fraudulent financial reporting has increased and therefore external auditors are getting the blame for not detecting fraud, while audit regulators are put into pressure to meet the public s wants. In response, audit regulators (i.e. (AICPA, IAASB) have published a number of professional fraud standards (SAS No. 1: â€Å"Responsibilities and functions of the independent auditors†; SAS No. 99: â€Å"Consideration of fraud in a financial statement audit†; and ISA No. 240: â€Å"The auditor’s responsibilities relating to fraud in an audit of financial statements†). Nonetheless, the expectation gap remains wide today – the overall picture has not changed much and the problem of fraud in audit remains unsolved. â€Å"Estimated typical organisation loses accounts for 5% of revenues each year to fraud. If applied to the 2013

Midterm 2 with Solutions Econ311 Free Essays

string(57) " This is one of the critiques of the Solow growth model\." Intermediate Macroeconomics 311 (Professor Gordon) Final Examination Fall, 2009 YOUR NAME:________________________________ INSTRUCTIONS 1. The exam lasts 2 hours. 2. We will write a custom essay sample on Midterm 2 with Solutions Econ311 or any similar topic only for you Order Now The exam is worth 120 points in total: 30 points for the multiple choice questions, 60 points for the analytical questions, and 30 points for the essays. 3. Write your answers to Part A (the multiple choice section) in the blanks on page 1. You won’t get credit for circled answers in the multiple choice section. 4. Place all of your answers for part B in the space provided. 5. You must show your work for part B questions. 6. Write your essays with a pen. Write clearly! 7. Good Luck and Happy Holidays! PART A (45 points) Choose the ONE alternative that BEST completes the statement or answers the question. Your answers must be in the space provided below. USE CAPITAL LETTERS. | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | PART B (45 points) Please show your work and write down the formulas you use for partial credit. Question 1 (5 points) (a) What monthly rate of inflation causes the price level to increase by a factor of 5 (500 percentage points) over a year? (2 points) (HINT: Use the LN and EXP formulas from Chapter 9, Problem 2, further examples of which were presented in lecture on November 11). Using the log formula: p = 100*log(5)/12 = 13. 4%. b) If the rate of monthly inflation is 25%, by what factor would prices have risen over a year? (3 points) Let’s call the initial price level P0 and the price level at the end of the year P12 25 = 100*log(P12/P0)/12 P12/P0 = exp(25*12/100) = 20. Question 2 (10 points) Consider an economy where inflation expectations are given by the equation pet = . 4 pt-1 + . 6 pet-1 . Also assume that when the log of the output ratio increases by 1 points, inflation increases by 4 points. a) Write down the SP equation, both its general form and its specific form with these particular parameter assumptions inserted. (2 points) pt = pet + gYt-1 + zt = . 4pt-1 + . 6pet-1 + 4Yt-1 + zt ) Write down the DG equation (no need to derive anything, just write it down). (1 point) Y = Y-1 + [pic] – p c) Combine the SP and DG equations to express p as a function of pt-1, pet-1, Yt-1,[pic]t, and zt. (2 points) (HINT: Your answer must have p on the left side of the equation and terms not including current p on the right side, with all the relevant parameters inserted and solved out. ) p = 0. 4p-1 + 0. 6pe-1 + 4Y + z = 0. 4p-1 + 0. 6pe-1 + 4(Y-1 + [pic] – p) + z 5p = 0. 4p-1 + 0. 6pe-1 + 4Y-1 + 4[pic] + z p = 0. 08p-1 + 0. 12pe-1 + 0. 8Y-1 + 0. 8[pic] + z For the remainder of the problem, assume that in period t=1 the economy has values given by: p0 = 3pe0 = 3Y0 = 0 ) Suppose there is no supply shock in period 1 (z1 = 0) and that [pic]1 = 5. Solve for period 1 values p1 and Y1. (2 points) p1 = 0. 08(3) + 0. 12(3) + 0. 8(0) + 0. 8(5) + 0 = 4. 6 Y1 = 0 + 5 – 4. 6 = 0. 4 e) Suppose instead that there is a period 1 supply shock that increases the value of z from 0 in period 0 to 1 in period 1. Find the period 1 values p1,[pic]1 and Y1 as well as the expected period 2 inflation, pe2, if the government adopts an accommodating policy. (3 points) Accommodating Policy means Y1 = 0, so from the DG equation p1 =[pic]1 and from the SP equation: p1 = . 4(3) + . 6(3) + 4(0) + 1 = 4 = [p ic]1 pe2 = . 4(4) + . 6(3) = 3. 4 Question 3 (15 points) Consider a country whose Central Bank issued 100$ of High-Powered Money (H). Citizens’ cash holdings (dollar bills) amount to 10% (. 1) of their deposits while each commercial bank has to have reserves for 15% (. 15) of the volume of deposits. a) What is the level of deposits? (2 points) D = H/(c+e) = 100/(. 1+. 15) = 400 b) What is the level of the Money Supply defined as dollar bills and deposits? (3 points) M = (1+c)D = 1. 1*400 = 440 c) Suppose the Central Bank wants to increase Money Supply to 528. How many extra units of High-Powered Money do they have to circulate? (4 points) M = (1+c) H / (c+e) 528 = 1. 1 H / . 25 H = 120 So they should print 20 extra units of H ) Assume now that the Central Bank still wants to set the Money Supply to 528 but the Government forbids them from printing High-Powered Money. What option is left to the Central Bank? (Hint: restrict your attention to this simplified model where there is nothing like direct lending or any other exotic policy) (2 points) Change the reserve requirement e) Given your suggested policy, which of the parameters of the model would they be changing? To which new value? (Remember that here H=100 and cannot be changed by assumption and M=528) (4 points) M=(1+c) H / (c+e) 528=1. 1 * 100 / (. 1 + e) e=. 1083 = 10. 8% Question 4 (15 points) Consider two nations, Richland and Poorland. Both nations have the same Cobb-Douglass production function, Y=AKbN(1-b). Let Poorland have an economy with technology level A=18, capital elasticity of production b=(1/3), population growth rate n=. 13, capital depreciation rate d=. 07, and savings rate s=. 3 a) Rewrite the production function as a function relating Y/N and K/N. (2 points) Y/N = A(K/N)b = 2(K/N)(1/3) b) Solve for the steady state values of the capital-labor ratio (K/N) and per-capita GDP (Y/N). (6 points) s(Y/N) = (n+d)(K/N) sA(K/N)b = (n+d)(K/N) (K/N) = [sA/(n+d)]1/(1-b) (K/N) = [. 1*18 /(. 2)]3/2=27 (Y/N) = (n+d)(K/N)/s (Y/N) = (. 2)(27)/. 1=54 c) Richland has a per-capita GDP that is triple that of Poorland. Given hat Richland has the same production function as Poorland, the capital-labor ratio in Richland is what multiple of the capital-labor ratio in Poorland? (In other words, if Poorland has a capital-labor ratio of K/N= x and Richland has a ratio of K/N= y, what is y/x? ). (3 points) [pic] d) Compute the ma rginal products of capital in the two nations. (3 points) MPK = b(Y/N)/(K/N) MPKA = (1/3)(54)/(27)=2/3=. 6667 MPKb = (1/3)(162)/(729)=2/81=. 0247 e) Judging from your answer in part (d), does the Solow model predict that poor countries have a higher or lower rate of return on capital? (1 point) The Solow model predicts a higher rate of return for poor countries. This is one of the critiques of the Solow growth model. PART C (30 points) WRITE YOUR NAME AND ID NUMBER ON YOUR BLUE BOOK. As stated on the syllabus (p. 3) and in numerous in-class and e-mailed reminders, you must write your answers in pen not pencil. This is a single multi-part essay question. You should write in your blue book for 30 minutes. 1. Write a coherent essay on the causes of the 2008-09 recession and on the policy responses to this event. Your essay should cover the following specific points a. First, establish the facts. What were similarities in the duration and magnitude of the 2001 recession and subsequent recovery as compared to the 2008-09 recession and recovery so far? Include comments on GDP, the GDP gap, labor market variables, and any other distinguishing features of these two episodes. b. What were the most important causes of the 2008-09 recession? Include comments on which causes were the same as in the 2001 recession, and which were different. c. In what sense, if any, did monetary or fiscal policy partially contribute to the causes of the 2008-09 recession? d. Evaluate the response of monetary policy since early 2008. What were the similarities and differences between this response and the monetary policy response to postwar recessions in 2001 and earlier? What aspects would you praise or criticize? e. Evaluate the response of fiscal policy since early 2008. What aspects would you praise or criticize? Multiple Choice Questions Make sure to write you answers on the blanks on page 1! 1. The current account includes all of the following except: A) net exports B) net income from abroad C) net unilateral transfers D) foreign direct investment 2. In what way was the international economy cited as a source of the U. S. housing bubble in 2003-06? A) cheaper prices of imported building materials B) support of dollar by foreign central banks C) immigration of skilled foreign construction workers D) high pay of top executives of foreign investment banks 3. Which of the following were not cited in the course as a reason for France and other European nations to be reluctant to endorse an Obama-like fiscal stimulus for their own countries? A) high unemployment in Europe B) low fiscal multipliers C) social welfare system D) unemployment insurance system 4. Suppose we have an economy in which G = 1100, t = 0. 26, Y = 3800, and YN = 4000. At Y the difference between the actual deficit and structural deficit is A) 60. B) 112. C) -172. D) -112. E) 52. 5. The failure of U. S. net exports to improve dramatically in the mid 1980? s despite the weakening of the dollar suggests that A) U. S. industries supply of competitive goods was inelastic over the period. B) LDC debt repayment schedules and lack of financing kept U. S. exports low. C) NCIs maintained fixed exchange rates vis a vis the dollar and U. S. exports low. D) All of the above. 6. In the reading period assignments from the Economist, the United States is faulted relative to Europe and Japan for each of the following reasons except: A) labor and capital markets B) primary and secondary education C) personal saving rate D) infrastructure 7. In the reading period article about France, the French are praised for each of the following reasons except A) infrastructure B) household debt C) output growth rate D) medical care system 8. The mechanism of ? international crowding-out? s that a government budget deficit ________ the domestic interest rate, which makes the dollar ________ expensive for foreigners, which then ________ net exports. A) raises, less, lowers B) raises, less, raises C) raises, more, lowers D) lowers, less, lowers E) lowers, more, raises 9. Which of the following e ffects takes place as a result of automatic stabilization? A) extra tax revenues are generated in a boom. B) tax revenues remain constant during a recession. C) leakages increase during a recession, helping to stimulate the economy. D) Both A and C are correct. 10. If the Federal Reserve intervenes in the foreign-exchange markets and buys foreign currencies A) the U. S. oney supply rises and foreign currencies depreciate. B) the U. S. money supply falls and foreign currencies depreciate. C) the U. S. money supply rises and foreign currencies appreciate. D) the U. S. money supply falls and foreign currencies appreciate. 11. Activists-believe that AD is unstable because A) business and consumer attitudes and expectations shift. B) monetary policy is variable. C) fiscal policy effects are unpredictable. D) Both B and C are correct. 12. Assuming constant wages implies that A) an increase in the price of goods raises profits and SAS is vertical. B) a decrease in the price of goods lowers profits and SAS is horizontal. C) an increase in the price of goods lowers profits and SAS is vertical. D) an increase in the price of goods raises profits and SAS is positively sloped. [pic] 13. Consider the above figure with equilibrium initially at E0. If the money supply is increased and prices are flexible, in the short run prices and output will ___. In the long run output and prices will ___. A) be as at E2; return to E0. B) be as at E1; be as at E2. C) be as at E2; be as at E3 D) be as at E2; be as at E1. E) be as at E1; be as at E3. 14. According to the readings, a common feature of the Great Depression and the recent economic crisis was A) mortgage credit B) deposit insurance C) unemployment rate D) monetary policy 15. The sources of the current problems of running monetary policy are often cited as A) Quantitative easing B) Zero lower bound C) Excess bank reserves D) A) and B) E) B) and C) 16. An acceleration of nominal GDP growth from, say 4% to 6% will A) permanently raise the rate of inflation. B) temporarily lower the rate of inflation. C) leave real GDP unaffected in the long run. D) Both A and C. 17. The short-run Phillips Curve gives A) the actual short-run level of real GDP and inflation. B) all possible combinations of real GDP and inflation, for a given set of expectations. C) all possible combinations of real GDP and inflation, for fully adjusted expectations. D) the response of real GDP and inflation to supply shocks. 18. The Fed is criticized for the â€Å"one-way option† regarding asset bubbles. The criticism is that the Fed __________ when asset prices increase and __________ when asset prices decrease A) raises interest rates; lowers interest rates B) leaves interest rates unchanged; leaves interest rates unchanged C) raises interest rates; leaves interest rates unchanged D) leaves interest rates unchanged; lowers interest rates E) lowers interest rates; raises interest rates 19. Which of the following was not a source of the Great Moderation, according to the textbook? A) growth rate rule for money supply B) financial deregulation in late 1970s, early 1980s C) magnitude of supply shocks after early 1980s D) government military spending 20. In the short-run, the impact of an adverse supply shock is to A) reduce real GDP and leave the inflation rate unchanged if the growth of nominal GDP remains the same. B) reduce real GDP and leave the inflation rate unchanged if the growth of nominal GDP is reduced enough. C) maintain the same level of real GDP and reduce the inflation rate if the growth if nominal GDP is increased enough. D) All of the above. 21. According to the textbook, the main losers due to the redistributive effect of the postwar inflation in the United States were A) households. B) corporations. C) government. D) A) and B) 22. Disgruntled? workers who quit their jobs to find ? a more reasonable boss? are experiencing A) involuntary unemployment. B) mismatch unemployment. C) cyclical unemployment. D) turnover unemployment. 23. Policy solutions to mismatch unemployment include A) fiscal policies to raise the AD curve B) monetary policies to raise the AD curve C) policies other than fiscal and monetary policies D) accommodative policies to deal with supply shocks 24. Over a year, the money supply in a nation grew by 6 percent, while velocity rose by 2 percent and real GDP rose by 3 percent. This results in an inflation over the year of ________ percent. A) 5 B) 11 C) 1 D) 7 25. The the Fed’s quantitative easing after mid-2008 is not described by A) increased open-market purchases of Treasury securities B) increased open-market purchases of private securities C) increased open-market purchases of corporate stock D) A) and B) E) A) and C) 26. Which of the following increased by the largest percentage between mid-2007 and mid-2009? A) excess bank reserves B) M2 C) high-powered money D) total bank reserves E) M1 [pic] 27. Initially, the economy is at point G in the figure above. An increase in per capita savings from s0 to s1 will in the short run result in ________ and in the long run result in ________. A) excess per capita saving; more rapid growth in per capita output B) excess per capita saving; less rapid growth in per capita output C) more rapid growth in per capita output; more rapid growth in per capita output D) more rapid growth in per capita output; no change in the long run rate of growth in per capita output 28. Which of the following will not affect steady state per capita income in the Solow growth theory? A) The savings rate. B) The initial capital stock. C) The population growth rate. D) The production function. 29. The Solow growth model predicts that nations that are initially poor should have A) slower growth rates than nations that are rich. B) faster growth rates than nations that are rich. C) growth rates equal to those of nations that are rich. D) negative growth rates. 30. Two readings in the course packet for Chapter 11 cite a particular technological innovation for improved economic growth in poor tropical countries. This is: A) television B) internet C) mobile phones D) new drugs to fight malaria 31. Several structural changes that occurred over the past two decades were a theme of lectures. Which of the following was not one of these changes? A) greater importance of structural unemployment and less importance of frictional unemployment B) smaller response of core inflation to oil price shocks C) larger decline of employment to declines in output in recessions D) larger increase of productivity to increase in output in recoveries E) More reliance on wage flexibility rather than layoffs in 2008-09 recession 32. In the Cobb-Douglas production function Y=AKbL1-b, the variable A has several different names. Which of the following is not one of them? A) autonomous growth factor. B) infrastructure. C) multifactor productivity. D) residual. 33. The formula for the growth rate of multifactor productivity is: A) a = y + bk + (1 – b)n. B) y = a + bk + bn. C) a = y – bk – (1 – b)n. D) y = a – b/k(1 – b)n. 34. Which of the following does not affect multifactor productivity? A) a tax on low-efficiency firms B) a higher saving rate C) Environmental regulation. D) Technological progress. 35. Relative growth rates of the standard of living in the United States and Europe indicate that workers in ________ have chosen to ? spend? _______ of their higher productivity on leisure rather than on consumption of market goods and services. A) Europe, a significant part B) the United States, a significant part C) Europe, almost none D) the United States, almost all 36. Whic h of the following would cause labor? s share of national income to decrease? A) Labor productivity increases less rapidly than the real wage rate. B) Labor productivity increases more rapidly than the real wage rate. C) Labor productivity has increased at the same rate as the real wage rate. D) Labor? s share of national income is not affected by the relative growth rates of labor productivity and the real wage rate. 37. Once monetary policy is dedicated to controlling the level of nominal GDP, then fiscal policy can be used to A) choose the overall level of interest rates, with a high budget surplus implying a high level of interest rates. B) choose the overall level of interest rates, with a high budget deficit implying a high level of interest rates. C) control the rate of inflation, with a high budget surplus implying a faster rate of inflation. D) control the rate of inflation, with a high budget deficit implying a faster rate of inflation. 38. A major side-effect of a stimulative fiscal policy is that it will A) discriminate in favor of housing. B) crowd out private expenditures. C) increase the natural rate of unemployment. D) permanently raise the rate of inflation. 39. Which of the following was a policy of Roosevelt’s New Deal which is not a part of the Obama stimulus package? A) tax reductions B) infrastructure improvements C) Direct intervention to stop financial institutions from failing D) Federal government direct hiring of the unemployed 40. The Barro-Ricardo Equivalence Theorem assumes all of the following except: A) Individuals value the welfare of their heirs as much as their own welfare. B) Interest rates will remain constant. C) All individuals have children D) Markets for consumer housing and durable goods are perfect. 41. Which of the following will cause the date that the Social Security trust fund runs out of money to be pushed further into the future? A) A decrease in the rate of real GDP growth. B) An increase in the population growth rate. C) A decrease in the growth of the real wage. D) All of the above. 42. A fixed money-supply rule will have the greatest stabilizing effect on output when A) money demand is unstable and commodity demand is stable. B) both money and commodity demand are unstable. C) both money demand and commodity demand are stable. D) the velocity of money is unstable. 43. M1 is a definition of money largely confined to which function(s) of money? A) unit of account B) store of value C) medium of exchange D) B and C. 44. In the empirical validation of the theory of the political business cycle discussed in lecture, which of the following variables measured over the year before the election has been the best predictor of the outcomes of presidential elections? A) the unemployment rate B) the inflation rate C) the growth rate of per capita real GDP D) the level of the federal government fiscal deficit 45. In the empirical validation of the theory of the political business cycle discussed in lecture, which of the following elections is a clear outlier as violating that empirical evidence? A) 1932 B) 1936 C) 1972 D) 1992 E) 2000 How to cite Midterm 2 with Solutions Econ311, Essay examples

Title Evidence, First Movement Words and Things Visual Strategies The Wild Ride Essay Example For Students

Title: Evidence, First Movement: Words and Things Visual Strategies: The Wild Ride Essay Two themes prefi gured in this fi rst chapter and foregrounded later in the fi lm deserve treatment in terms of the visual strategies they employ: the Wild Ride and the hysteric. Our claims as to the methodological ele ment of Christensen’s image- making practices become clearer if we temporarily skip ahead to Hà ¤xan’s depiction of the violent moral disorder of the Wild Ride of the witches to their Sabbats. This scene appears in Chapter 4 of the fi lm and is presented as a visual account of the old woman Maria’s confession to the â€Å"crime† of witchcraft. We will fully analyze the density of this scene in the corresponding chapter of the book, but for now we will focus only on Christensen’s complex use of works of art that originally appeared in fi fteenth- and sixteenth- century texts by Hans Vintler and Johann Geiler42 in the course of creating new cinematic images in Hà ¤xan. Christensen’s pre sen ta tion of the Wild Ride is thrilling by any standard.43 Making use of the special effects available to him at the time, the fury and terror of Hà ¤xan’s female wild riders stands out as one of many highlights of the fi lm. By the early sixteenth century, the Wild Ride had become a standard ele ment of both demonological and pop u lar literary accounts of the activities of witches, folding older legends of wild hunters, the restless travels of the dead at night, and tales of the Furious Horde into the standardized script of the Ride. Particularly strong in what is today southern Germany and Switzerland, variations on the myth of the night people retained their durable immediacy deep into the twentieth century.44 Charles Zika claims that in its vari ous tellings the Furious Horde consisted of â€Å"cavalcades of demonic spirits and souls, especially of those who died before their time and enjoyed no peace— soldiers killed in battle, young children, victims of violent acts, and so on.† 45 Folded into the exegesis of the ninth- century text Canon Episcopi, regarding the power of demonic illusion to deceive women into imagining that they could travel great distances at night, often in the com pany of the goddess Diana, the Wild Ride violently collapsed a multitude of characters and beliefs into a par tic u lar time and a singular image of the witch in sixteenth- century Eu rope. Christensen’s own image of the Ride compels the same collapse, though one that assumes fi delity to empirical evidence in the time of the witch hunts. This is characteristic of Hà ¤xan’s cinematic naturalism. There are many classic examples of images of the Furious Horde and the Wild Ride; two in par tic u lar stand out in relation to Hà ¤xan’s own visualization of the spectacular event. First is a clear correspondence between a woodcut from Hans Vintler’s Buch der Tugend titled Wild Riders on a Wolf, Goat, Boar, and Stool (1486) and the special effect of Christensen’s image of his witches fl ying through the air as part of Maria’s confession in Chapter 4. This woodcut refl ects its origins as a portrayal of Waldensian heresy (the subject of Vintler’s text), depicting the riders, men, and vehicles as mostly animals.46 While Christensen’s image substitutes iconic objects such as brooms and cooking forks for beasts and refl ects a discourse of the witch (found in Kramer in 1486) as being almost singularly female, it nevertheless takes direct inspiration from the classic woodcut in its perspective, its positioning of the riders in the frame, and the emphasis of the subjects that suppress depth of fi eld against the void of an empty background. Vintler’s woodcut, modifi ed naturalistically to mirror the seemingly unnatural and im possible Wild Ride of the witch, moves in the fi lm. Christensen also modifi es and brings to life characteristic repre sen ta tions of the Furious Horde, a super natu ral band that was not originally associated with witchcraft at all. Again, this conjoining of witch image to demonological discourse refl ects an empirically verifi able invention in the late medieval period and the Re nais sance. In par tic u lar, Christensen’s long shots of the witch’s Sabbat, unfolding in the twisted chaos of the deep forest, recalls the woodcut The Furious Horde that appears in the 1516 version of Johann Geiler’s Die Emeis. As with the echo of the Vintler woodcut in the Wild Ride, the perspective, framing, and composition of the image of the Sabbat in Hà ¤xan updates and transforms The Furious Horde, much as demonologists transformed the meaning of the Horde in the invention of the sixteenthcentury witch. Again, Christensen is not only â€Å"inspired† by Geiler’s image; he has in his creative activation of the imag e si mul ta neously produced an effect that corresponds to the empirical evidence of the witch’s coming into being and exhibited what Charlie Kiel has termed â€Å"the oscillating value of the non- fi ctive.† 47 Documentary elements can support, contradict, or even wholly become the narrative in early cinema; Hà ¤xan in this sense is consistent with other contemporary works in the oscillating value of its discrete artifacts. Visually, Hà ¤xan offers innovation to the repre sen ta tion of demons that were commonly circulated in woodcuts, broadsheets, and paintings at the time. While the depiction of vari ous lesser demons and fallen angels was quite common, they tended to be rendered as smaller versions of the horned Satan or as hybrid human– animal creatures with each â€Å"natu ral† species being traceable within the complete appearance of the demonic creature (such as in the Geiler woodcut just mentioned). Hà ¤xan does not simply reproduce these stereotypic images. Instead, Christensen at times broadens his regional frame of reference, drawing on works referring to witchcraft produced outside of German- speaking Eu rope such as Agostino Veneziano’s painting The Carc ass (ca. 1518–35) in relation to the Sabbat, or images that portray super natu ral creatures that appear in negative sixteenth- century â€Å"guides† to pre- Christian Norse myth, particularly some of the woodcuts that accompany Olaus Magnus’s Historia de Gentibus Septentrionalbis (in numerous printings from 1555), which appear to provide the inspiration for the â€Å"demonic children† Maria claims to have given birth to, revealed in her confession. Maria’s confession in Chapter 4 of the fi lm provides additional examples of the breadth of Christensen’s visual assemblage of the witch and her activities. As with the discourse of the witch in the early modern period, fi gures from antiquity such as Saturn and Circe are also alluded to in the repre sen ta tion of the Sabbat in Hà ¤xan. In order to clarify our argument here, it is necessary to briefl y analyze Christensen’s composition of a series of brief shots in the Sabbat that refer to sixteenth- century repre senta tions of Circe and the link they made between the Roman goddess and witchcraft. In Maria’s confession, Circe is indirectly named as â€Å"Satan’s grandmother.† 48 Images associated with games of chance, gambling, tricks, slight of hand, and illusion were often part of Circe’s repertoire. The logic here was that such games, seemingly minor performative elements of pop u lar tricks and entertainment, were actually rooted in the same demonic power of illusion as more obvious forms of malefi cium. Elements of Christensen’s image here appear to be directly referring to a number of we ll- known visual repre senta tions of Circe in the sixteenth century, particularly a woodcut from the workshop of Michael Wolgemut and Wilhelm Pleydenwurff and tentatively attributed to Albrecht Dà ¼rer that appeared in the Liber Chronicarum, titled Circe and Her Magical Arts Confronting Ulysses and His Transformed Companions (1493). Although the literal confrontation depicted in this woodcut between Circe and her assistant on the shore and Ulysses and his companions on a boat is absent in Hà ¤xan, the fl owing beauty of Circe herself is echoed in the fi lm’s image and the table cluttered with instruments of chance and magic directly corresponds to the association Christensen is intending to make here. Other surviving images from the time echo Hà ¤xan’s meaning here as well, albeit less directly. Art 2.3 EssayWithin the arc of this movement in Christensen’s fi lm, the objective knowledge of witchcraft is opened to the perception of otherness in the witch, the demonologist, the hysteric, and ultimately the scientist by way of a visible unity of the senses unique to the director’s method. â€Å"The ethnographic surrealist,† wrote James Clifford, â€Å"unlike either the typical art critic or anthropologist of the , delights in cultural impurities and disturbing syncretisms.†57 We are not claiming that Hà ¤xan is ethnographic in its formal approach, yet Clifford’s description does echo the links we are drawing here between radical approaches to the image in art and subversive methods deployed in documenting the real that were roughly contemporary to the fi lm.58 The transgressive approach to the archive, to classifi cation, and to expression that the fi lm exhibits also is akin to methods deployed in the journal Documents (1929–30) nea rly a de cade later. Edited by Georges Bataille, Documents willfully transgressed institutional genres through its â€Å"subversive, nearly anarchic documentary attitude,† an attitude that Christensen plainly shared.59 What distinguished Documents from Warburg’s Mnemosyne and Hà ¤xan is that the former seizes clichà ©d objects and then systematically empties them out in the course of its own expressions. Bataille and his contributors sought to defamiliarize the clichà ©s, disturbing the placidly deceptive surface of the mundane in their fragmentary, juxtaposing methods of critique and pre sen ta tion. In contrast, Warburg and Christensen begin by collecting mythological, fi gurative givens seemingly quite distant from the â€Å" really† real. Starting at radically different places, the outcomes of these projects converge on the same nodal point— unsettling distances between myth and the everyday that in turn produce expressive works that are themselves quite unsettling. It is obvious in light of this shared methodological aspiration why the surrealists would take inspiration from Hà ¤xan, brazenly (and unfairly) advocating Christensen over Dreyer as the Scandinavian fi lmmaker of note in the 1920s.60 David Bordwell groups Hà ¤xan, along with Carl Theodor Dreyer’s Leaves from Satan’s Book (Blade af Satans Bog, 1921), Maurice Tourneur’s Woman (1918), and Fritz Lang’s Destiny (Der mà ¼de Tod, 1921) within a tradition of â€Å"episode fi lms† in the classical period of silent cinema.61 This is consistent with our argument regarding Christensen’s fi lm, as all of these cinematic works weave together episodic fragments in order to draw parallels and correspondences across situations and characters. More explicitly than the others, however, Hà ¤xan also deploys the techniques associated with Warburg’s Mnemosyne and Bataille’s Documents for purposes of affectively emphasizing the dark, chaotic forc es that lurk under the smooth surface of the everyday. The parallels Christensen draws are therefore not simply between characters or situations but across domains of sense that cut across time. Thus, the episodic structure of Hà ¤xan not only allows characters seemingly out of a dead past to live again, it also draws the phenomenology of the hysteric and the work’s own contemporary time to the surface. Shadowed by the specter of an everyday fractured by mechanized global war, Hà ¤xan in turn brings its witches, inquisitors, and hysterics alive in the haunted now of the fi lm’s reception.62 In short, Hà ¤xan is promiscuous. It is neither wholly artistic nor scientifi c. It aspires to seize a quality Ulrich Baer granted only to photography when he wrote, â€Å"Films fail to fascinate in the same way as photographs do, because they invite the viewer to speculate on the future— even when irresistibly tempted to do so— only on the level of plot or formal arrangement. Photographs compel the imagination because they remain radically open- ended.† 63 Hà ¤xan calls Baer’s assertion into question. The opening chapter does not offer a speculation as to the future. It disorients the viewer, leaving her with the insistent, fundamental question, â€Å"What is this thing?† It compresses times past and future into a sequence of clichà ©d images that tr averses the steep slope between past and future in the form of an event. This is not a plot. Rather, it is a strategy to â€Å"compel† the viewer, although we would not limit this compulsion to the imagination alone. In other words, the inability to automatically categorize Hà ¤xan emerges out of a formal strategy rooted in an epistemic virtue. In science, such virtues demand that the subject know the world and not necessarily the self; Hà ¤xan’s demand is greater in its own way as it demands both.64 Thus, while Christensen never backs away from his claim that Hà ¤xan offers a truthful examination of the witch that can stand up to the test, he also deploys strategies of evidence making that would have been familiar to the subjects of his fi lm. As Joseph Leo Koerner puts it: â€Å"In the later Middle Ages, in practices ranging from persecuting witchcraft to meditating on Christ, techniques were developed to draw distinctions among visual phenomena, differentiating, say, physical objects from fantasies, dreams, and diabolical or artful de ceptions. Some of the best testimonies of this sorting operation come from artists. This is not surprising given that image- makers specialized in manipulating one thing (their materials) in order that a viewer should see something else.† 65 While Christensen’s materials might have been radically different than those of an artist in the late Middle Ages, his aim to manipulate these materials in order to make something invisible visible is consistent with his aims. This description, of course, could also be applied to experimental scientifi c techniques without much alteration to the stated aims of tests taken under the signature of such disciplines. For Christensen, objective knowledge itself has been possessed by the uncanny, rendering â€Å"imagination† or â€Å"reason† alone inadequate to bringing the witch to life, to forcing her to speak to what is already known in her pathological language of diabolic proofs. The witch must be experienced in her own milieu, a satanic biome that we will presently argue is one that Christensen represents as her state in nature. As it moves from the fi rst chapter to the second, Hà ¤xan constitutes an extension from the techniques and virtues of Mnemosyne to those of the nature fi lm. In other words, the fi rst chapter of Hà ¤xan is the pre sen ta tion of a series of clichà ©s— visual clichà ©s and ste reo types of the witch, fragments which were most likely already familiar to the viewer. This is hardly a waste of time, however, as these clichà ©s (what Deleuze terms fi gurative givens) will not only provide the empirical evidence for Christensen’s thesis but will also provide media from which the director will conjure the power of the witch. It is im por tant to note that Deleuze discusses fi gurative givens in reference to painting, not cinema; thus, the concept would not seem to readily apply here.66 Yet we suggest that Christensen is attempting to do something quite paradoxical, which is to release the movement of the painting and the woodcut through the cinematic image. Indeed, as we move through the fi lm, we cumulatively gain the sense that Hà ¤xan is a living tableau. This is by no means an accident. The fi lm excels in providing the ground for this sense, possessing the spectator through the immediacy regardless of whether the viewer logically knows that the represented event is already in the distance. This quality sets Hà ¤xan apart.

To Build a Fire Man is Foolish London To Build a Essay Example For Students

To Build a Fire Man is Foolish London To Build a Essay Fire Essays To Build a Fire Man is Foolish How many times have you seen birds flying south for the winter? They do We will write a custom essay on To Build a Fire Man is Foolish London To Build a specifically for you for only $16.38 $13.9/page Order now not read somewhere or use some computer to know that they must fly to survive. In Jack Londons To Build a Fire, we see how that man is sometimes foolish. The man, who is walking in seventy-five degrees below zero weather, lets his learned behavior override his instinct. Therefore, he dies. Londons theme is that no matter how intelligent society becomes, we as a species should never discard our basic instincts. In the beginning of the tale we see that the man realizes it is cold, but only sees this as a fact and not a danger. The man spit on the ground to test how cold it was. His test taught him that it was colder than he had first thought, but he never thought of that as a danger only as a reality. That there should be anything more to it than that was a thought that never entered his head (119). To many times modern man plods along oblivious to the reality that lies one moment or misstep away (Votleler 272). The man sees that he is feeling the effects of the cold more and more as he goes along, but more than ever he pushes on. Several times he comments that the cold is making his hands and feet numbed, and frostbite is killing his cheeks. He thinks What were frosted cheek? A bit painful, that was all. . . (120). Again he chose to ignore an instinct that would have saved him. The dog, on the other hand, although guided by his learned behavior still retains his instincts. The dog follows the man throughout his ill faded journey, but after the man perishes he relies upon his instincts to survive. This is witnessed in the last paragraph by the statement Then it turned and trotted up the trail in the direction of the camp it knew, where there were other food providers and fire providers (129). The theme of Londons To Build a Fire is how we should all take heed to modern knowledge and learned behavior has its benefits, but our primal instincts should never have ignored. The man in the story had lots of knowledge but neglected to pay attention to his sixth sense. The dog on the other hand, followed as long as he could but then let his instincts carry him to safety. We can never have enough knowledge to replace the survival skill that nature has provided us. .

Saying to in German With Nach and Zu

Saying 'to' in German With 'Nach' and 'Zu' There are at least  half a dozen ways  to say to in German. But one of the biggest sources of to confusion comes from just two prepositions:  nach  and  zu. Fortunately, there are clear distinctions between the two. The preposition  nach, except in the idiomatic phrase nach Hause ([to] home, homeward), is used exclusively with geographic place names and points of the compass (including left and right). Most other uses of  nach  are in its meaning of after (nach der Schule   after school) or according to (ihm nach   according to him). Here are some examples of  nach  when it means to:  nach Berlin  (to Berlin),  nach rechts  (to the right),  nach Ãâ€"sterreich  (to Austria). Note, however, that plural or feminine countries, such as die Schweiz, usually use  in  instead of  nach:  in die Schweiz, to Switzerland.   The preposition  zu  is used in most other cases and is always used for to with people:  Geh zu Mutti!, Go to (your) mom! Note that  zu  can also mean too, functioning as an adverb:  zu viel, too much. Another difference between the two is that  nach  is rarely used with an article, while  zu  is often combined with an article or even contracted into a one-word compound, as in  zur Kirche  (zu der Kirche, to the church) or  zum Bahnhof  (zu dem Bahnhof, to the train station). Nach Hause  and  zu Hause Both of these prepositions are used with  Haus(e), but only  nach  means to when used with  Haus. The phrase  zu Hause  means at home, just as  zu Rom  means at/in Rome in that poetic, old-fashioned type of construction. Note that if you want to say to my house/place in German, you say  zu mir  (zu dative pronoun) and the word  Haus  is not used at all! The idiomatic expressions ​nach Hause and zu Hause follow the rules for nach  and zu  given above. Here are some more examples of the uses of  nach  and  zu  (as to): Wir fliegen  nach  Frankfurt.Were flying to Frankfurt. (geographic)Der Wind weht von Westen  nach  Osten.The wind is blowing from west to east. (compass)Wie komme ich  zum  Stadtzentrum?How to I get to the city center? (non-geographic)Ich fahre  nach  Frankreich.Im going to France. (geographic)Gehst du  zur  Kirche?Are you going to church? (non-geographic)Kommt doch  zu  uns!Why dont you guys come over to our place [to us]. (non-geographic)Wir gehen  zur  Bckerei.Were going to the bakery. (non-geographic) Direction/Destination The preposition  zu  expresses the idea of heading in a direction and going to a destination. It is the opposite of  von  (from):  von Haus zu Haus  (from house to house). Although both of the following sentences can be translated as He is going to the university, there is a difference in the German meanings: Er geht  zur  Universitt. (The university is his current destination.)Er geht  an  die Universitt. (Hes a student. He attends the university.) Those Tricky Prepositions Prepositions in any language can be tricky to deal with. They are particularly susceptible to cross-language interference. Just because a phrase is said a certain way in English, does not mean it will be the same in German. As we have seen, both  zu  and  nach  can be used in many ways, and to in German is not always expressed with these two words. Look at these to examples in  English and  German: ten to four  (score)   zehn zu vierten to four  (time)   zehn vor vierI dont want to  Ã‚  ich will nichtto my delight  Ã‚  zu meiner Freudeto my knowledge  Ã‚  meines Wissensbumper to bumper  Ã‚  Stoßstange an Stoßstangeto town  Ã‚  in die Stadtto the office  Ã‚  ins Bà ¼roto a great extent  Ã‚  in hohem Grad/Maße However, if you follow the simple rules on this page for  nach  and  zu, you can avoid making obvious mistakes with those two prepositions when you want to say to. German Prepositions That Can Mean To All of the following prepositions mean several other things besides to: an, auf, bis, in, nach, vor, zu; hin und her  (adverb,  to and fro) Note that German also uses nouns or pronouns in the  dative case  to express to:  mir  (to me),  meiner Mutter  (to my mother),  ihm  (to him).

An Effective Electoral system

An Effective Electoral system Disclaimer: This work has been submitted by a student. This is not an example of the work produced by our Law Essay Writing Service . You can view samples of our professional work here . An Effective Electoral system Electoral system or voting system is a system by which voters can make a choice between the options put forward before them. It is often used in an election or when passing a policy referendum. In a democratic state, the electoral process determines who will in charge of the political office. It is the electorate which confers the power to govern and calls government to account. A voting system contains rules for valid voting, and how votes are counted and aggregated to tally the final result   [ 1 ]   . According to Encyclopedia Britannica, electoral system, method and rules of counting votes is used to determine the outcome of elections. Winner may be determined by a plurality, a majority (more than 50% of the vote), an extraordinary majority (a percentage of votes greater than 50%), or unanimity. Candidates for public office may be elected directly or indirectly   [ 2 ]   . In this question, it was asked whether a proper electoral system wo uld be able to uphold rights. Well, first we shall look at what is a proper electoral system? A proper electoral system or also known as a proportional electoral system is a principle which attempts to ensure that the outcome of the election reflects the proportion of support gained by each competing parties. In easier words, a proportional electoral system occurs when there equal amount of votes and seats in the parliament. Proportional electoral system is totally different from the Majoritarian principle. In majoritarian system, party or candidates obtain a plurality of votes within that certain constituency wins that election. Examples of a proportional system are Single Transferrable Vote (STV) and Party List System. A single transferrable vote is a method of election where a voter ranks the candidates in order or preference. This system does not depend on the candidate being grouped into their political parties   [ 3 ]   . The votes would be transferred between candidates i n a manner similar to instant run off voting, but in addition to transferring votes from the candidates who have been eliminated to the next candidate on the list. This method is being applied in Australia, Ireland, Malta, New York, Cincinnati, Cleveland, Toledo, and Boulder.   [ 4 ]   This system is a good system as it prevents votes from being wasted; this is because all the votes given by the voters would be taken into account. And through this system, the citizens of that specific area would have more voice to voice out their opinion and problems in the Parliament, as they have not only one representative but a larger choice of representative. STV also protects the minorities. This is because the minority voters may split their votes across party lines. They can also exercise choice among candidates from the same party. However, STV has disadvantages. One of it is that this system is extremely complex, as it requires a large amount time and meticulous mathematical calculatio ns. Party List System on the other hand, is method in which the voters vote for the parties, rather that voting for the individual candidates   [ 5 ]   . For each of the quota of votes a certain party receives, one of their representatives wins a seat in Parliament. This system is being used in most European democracies and also in most newly democratized countries, like South Africa. This system is simple, easy to understand and it works in any uncomplicated manners. It does not require any complicated and time consuming calculations. This system is extremely fair and equitable from the whole distribution of seats. However, the disadvantage of this system is that no single party can secure an absolute majority in the Parliament. It also destroys the valuable local link between the MP and his constituents, as the constituents may not even know their representative. Party List System also places too much power in the hands of those at the top of the party hierarchy.

Professional Challenge-Contemporary Issues and Policies Assignment

Professional Challenge-Contemporary Issues and Policies - Assignment Example In other words, the private health agencies work with the profit motive where as the public health agencies aim for meeting the social obligations. Hence, any change in the health care policy affects significantly the efficiency of public health organization which in turn would influence the health care of the people. In the present paper, an attempt has been made to evaluate the impact of current health care issues and policies on the performance of public health care organization i.e. Department of Veteran Affairs (VA), United States of America. VA meets the social obligations by providing a wide range of benefits including, education and training, disability, vocational rehabilitation and employment, dependant and survivor benefits, burial benefits, medical treatment and life insurance. At the same time, VA provides benefits only to some selected and defined sections of the people like veteran, Veterans dependent, surviving spouse, child or parent of a deceased Veteran and uniformed service members. The national health care policy has always been designed keeping the overall welfare of the all the sections of the society in to consideration. For example, a joint VA and Department of Defense program was initiated which provides service members the opportunity to file claims for disability compensation up to 180 days prior to retirement from active duty or full time National Guard or Reserve duty which is very useful for the veterans under emergency circumstances. The national health care policy also facilitated the operatio n of ambulatory care & community based The economic burden of implementing new health care policies is the main factor that decides the success of the organization like VA. Day by day the needs of the patients have been growing necessitating higher number of out door units and ambulance services incurring additional costs. The national health care policy of USA has been ensuring that the

Unit Plan for English learners Essay Example | Topics and Well Written Essays - 2250 words

Unit Plan for English learners - Essay Example Be able to deal with political issue and to understand how to protect oneself from any political issue The learner should be able to get some English concepts while learning social studies in class Introduce the use of computers in the teaching of social studies Unit objectives By the end of this course the learner should be able to 1. Identify the different types of politics in a given country and to give different countries in the world that use different forms of politics. 2. Identify the different methodologies that can be used to collect data relating to politics and how this can be improved. 3. Identify the different people in the world who have contributed positively and those who have contributed negatively to politics in the world 4. Be able to identify the different themes in journals that they get in class and to explain how each relate with the different politics and how it can be changed 5.Provide a good summary of the things that is learnt in class and how to implement it 6.Be able to present a well written essay about the political scene of the country in good grammar with no grammatical error. 7.Be able to differentiate the different types of citizenship and the roles of international boundaries to the development of the economy of the people in the world as a whole.... 7. Be able to differentiate the different types of citizenship and the roles of international boundaries to the development of the economy of the people in the world as a whole. Fitting the unit to the goals of the subject The main goal of this subject is to teach student to learn how to become responsible people for their country and to know how to make important decisions that pertains to the development of the country. The subject also has the goal of making the learner know how his actions as an individual can affect the whole republic. Apart from the political sides, the learner is also supposed to learn some Basic English concepts. Writing is one of the English concepts that the learner is supposed to grasp from the experience of this writing. Apart from the writing skills the learner should also be able to equip themselves with necessary skills in research work such as the methodology that is to be used in a particular field of study. All these are fulfilled by the study of th is unit. First the objectives of the study ensures that the learner fully understand the political responsibility that he has to fulfill to the nation and what his role to the politics of a nation is. The unit also entails some small research that involves use of different methodologies to find out more about the research thesis. By this the unit is able to achieve one of its major goals which are to enhance the learner to be able to identify the different methodologies that are used in a particular subject. Writing skills is also a goal that is achieved as the learner is able to get some writing skills from the unit. Student characteristics Most of the learners in this class have English as their first language

Hamlet Speech Draft Essay Example for Free

Hamlet Speech Draft Essay In Shakespeares famous play Hamlet, Hamlet reveals the duality of human nature as he is the hero of one plot whilst a villain in the other. Hamlet portrays the heroic characteristics through bravery and fearlessness. On the other hand, he is a villain because he is a coward, disrespectful and he would do anything to achieve and benefit for himself. But Hamlet is neither a complete hero nor a complete villain. He is both, and this contributes to Shakespeares message concerning the duality of human nature. The following paragraphs will elaborate on Hamlets 3 different types of personalities. Hamlet being a hero of a plot is a major theme in the play. This is shown by through his actions of avenging his fathers death by killing the current king Claudius, Hamlets uncle. Hamlet demonstrates the quality of braveness by following the ghost ignoring the fears of his friend for him strong enough to break the restraining hold and follows the horrible illusion not knowing what could happen to him. [Hamlet-Shakespeare Act 1, Scene 4, 88 95] Hold off your hands, My fate cries out and makes each petty artery in this body as hardy as the Nemean lions nerve. Still am I called.- Unhand me, gentleman. By heaven, Ill make a ghost of him that lets me! I say, away. -Go on. Ill follow thee. Hamlet does this because he is in desperate urge of wanting to discover how his father died and that he truly loves his father. The final reason for Hamlet being a hero is because he is not afraid of facing a politically superior man. This means that hamlet is not afraid to face the king; a person more powerful than him and tell everyone the truth about what happened to his father. Hamlet demonstrates the quality of fearlessness when is ready to fight the king. This is proven when he says [Hamlet-Shakespeare Act 5, Scene2 198 -200] I am constant to my purpose, they follow the Kings pleasure. If his fitness speaks, mine is ready. Now or whensoever, provided I be so able as now These words show that Hamlets fearlessness quality and that he is not afraid of facing a person much more powerful than him. Hamlet shows his bravery, fearlessness and determination through his action and speech and those are the qualities of a hero. Although Hamlet has many great Heroic qualities, he also has numerous villain characteristics shown through his actions and speech. He may be seen as a villain because he caused the death to the whole royal family including Polonius, Ophelia and even himself. One of his villain characteristics is portrayed when Hamlet said some harsh words to his mother making her feel threatened. [Hamlet-Shakespeare, Act 3, Scene 4, 21-23] Come, come, and sit you down. You shall not budge. You go not till I set you up a glass Where you may see the inmost part of you. These words illustrate one of Hamlets villain characteristics of being disrespectful. In addition to that, he broke Ophelias heart, as well as killing her father which caused her to become insane and lead her to commit suiciding. He also lied to his friends Rosencrantz and Guildenstern changing the letter making them the suspect of execution. Hamlet says [Hamlet-Shakespeare Act 5, Scene 2, 61-66] Why, man, they did make love to this employment. They are not near my conscience. Their defeat does by their own insinuation grow. Tis dangerous when the baser nature comes between the pass and fell incensed points of mighty opposites. This shows that Hamlet is a coward, not facing execution himself but had to make his innocent friends face execution for him. These evidences proves that Hamlet is a villain because the death of the king Claudius, Gertrude, Ophelia, Laertes, Polonius, Rosencrantz, Guildenstern and himself is caused by him either directly or indirectly. Shakespeare uses the characters in the play Hamlet, especially the protagonist Hamlet to imitate the duality of human nature. Hamlet is a perfect example of a duality because he is both noble and immoral at the same time. An example of this is at the beginning when he is shocked over his father death and his mothers quick remarriage to his uncle. This is shown in the text when Hamlet says [Hamlet-Shakespeare Act 1, Scene 2, 151-158] even she O, God, a beast, that wants discourse of reason would have mourned longer married with my uncle, my fathers brother, but no more like my father than I to Hercules. Within a month, ere yet the salt of most unrighteous tears had left the flushing in her galled eyes, She married. He then changes when he soon discovers about how his father was murdered and desires to seek revenge. Another example of a duality is that Hamlet exposes the noble side of himself. This is when he grieves for his father and despises the situation that his mother has left him in. He says [Hamlet-Shakespeare Act 1, Scene 2, 85-88] These indeed seem, for they are actions that a man might play. But I have that within which passes show these but the trappings and the suits of woe. This makes the reader feel that he dislikes his mother but on the contrary he still loves her even though she has left him in a miserable situation. These examples portray the duality of human nature from the character Hamlet. Hamlet can be both the hero due to the bravery and fearlessness he has shown through his actions. Although he shows heroic qualities, he can still be a villain through his coward, disrespectful and immoral actions. Hamlet is often noticed that he has more than one side to his personality at the same time and this is revealed through the play when he stands for what he believes in and takes avenge for his fathers death but in the contrary not only did he kill Claudius, he was involved in everyones death including Ophelia, Polonius, Gertrude, Laertes, Rosencrantz and Guildenstern and that he would do anything to achieve and benefit for himself. Through these actions, Hamlet portrays the qualities of the duality of human nature.

Judgmental Attitudes, Isolation, and Forgiveness in Marilynne Robinson

In Marilynne Robinson’s Gilead narrator and reverend John Ames seeks to transcend the isolation he feels from the title town through a letter to his son. John Ames holds the ironic role of moral leader and recluse, which leaves him alienated from the people who respect him. His isolation is a byproduct of his independence; an independence that distances him from those he loves: Jack Boughton and his son. This estrangement is represented in the text by his heart condition which prevents him from watching his son grow up, metaphorically epitomizing the damage that his years of solitude have done to him. Therefore, in order to find a way to transcend his temporal life and imminent death, he writes a letter to his son offering something guidance, as consolation for leaving him in poverty and destitution. The letter serves to offer his son guidance and understanding of his father’s identity after he dies and as a plea for forgiveness for the narrator’s isolation, critical ways, and for leaving his son’s life too soon. Ultimately, Gilead portrays a forced distance between father and son due to the father’s death. It reveals the isolation of independence and it expresses forgiveness in the face of loneliness. Through this construction of a father-son relationship, the text critiques independence and reveals a value in forgiveness, acknowledging that the impermanent nature of humanity leaves distance between people and that the nature of writing gives some level of permanence. Ironically, John Ames’ role as preacher causes him to become the estranged moral leader in the community that respects him so much. Those who respected him for â€Å"all those hours [he] was up [there] working† on his sermons and studies distanced themselv... ...ent it causes between him, Jack, and his young son illustrates the dangers of independence and self-reliance in Gilead. Ultimately, the novel acknowledges the imperfections of others but does not offer a method of change so much as an emphasis of understanding and forgiveness. The letter of John Ames to his son reveals a plea from a father to his child of his own faults and his desire for forgiveness because of them. Ultimately, writing allows an individual to live on after death and have a level of permanence which allows one to have an enduring identity. Gilead critiques judgmental attitudes and isolation and reveals the value of forgiveness through John Ames’ story. Forgiveness allows one to transcend misunderstandings and differences and recognize the value of others. Work Cited Robinson, Marilynne. Gilead . New York: Farrar, Straus and Giroux, 2004

Deputy Manager Essay

The learner will: 1. Understand diversity, equality and inclusion in own area of responsibility Assessment criteria The learner can: 1.1 Explain models of practice that underpin equality, diversity and inclusion in own area of responsibility 1.2 Analyse the potential effects of barriers to equality and inclusion in own area of responsibility 1.3 Analyse the impact of legislation and policy initiatives on the promotion of equality, diversity and inclusion in own area of responsibility Learning outcome The learner will: 2. Be able to champion diversity, equality and inclusion Assessment criteria The learner can: 2.1 Promote equality, diversity and inclusion in policy and practice 2.2 Challenge discrimination and exclusion in policy and practice 2.3 Provide others with information about: the effects of discrimination the impact of inclusion the value of diversity City & Guilds Level 5 Diploma in Leadership for health and social care and children and young people’s services (England) (3978-51/52/53/54/55/56) 2.4Â  Support others to challenge discrimination and exclusion Learning outcome The learner will: 3. Understand how to develop systems and processes that promote diversity, equality and inclusion Assessment criteria The learner can: 3.1 Analyse how systems and processes can promote equality and inclusion or reinforce discrimination and exclusion 3.2 Evaluate the effectiveness of systems and processes in promoting equality, diversity and inclusion in own area of responsibility 3.3 Propose improvements to address gaps or shortfalls in systems and processes Learning outcome The learner will: 4. Be able to manage the risks presented when balancing individual rights and professional duty of care Assessment criteria The learner can: 4.1 Describe ethical dilemmas that may arise in own area of responsibility when balancing individual rights and duty of care 4.2 Explain the principle of informed choice 4.3 Explain how issues of individual capacity may affect informed choice 4.4 Propose a strategy to manage risks when balancing individual rights and duty of care in own area of responsibility City & Guilds Level 5 Diploma in Leadership for health and social care and children and young people’s services (England) (3978-51/52/53/54/55/56)

Sfl Genre Literature Review

CHAPTER II Travelling Uncharted Waters? REVIEWING THE LITERATURE 2. 1 Introduction: Storm in a teacup This part of my research journey was fraught with anxiety, distress and a sense of being lost. Reviewing the literature became my own storm in a teacup, as I found myself dizzily spiralling, being flung between not knowing on the one side, on the verge of knowing at the other, yet continuously feeling out of control, not being here nor there †¦ caught somewhere between locating, analysing, synthesising and reviewing the expert knowledge.Searching for literature and locating the literature, even with support, was a lonely road. Never have I felt that the more I began to read and know, the less I felt I knew, lost and alone amid so many theories, expert knowledge, data and findings. And so this genre journey became a rumbling of thoughts, ideas and theories to be summarised, referenced and sometimes even violently tossed aside. Reviewing the literature and writing up summaries was a cup of tea, yet I was slowly dissolving, losing my own voice and experiencing a sense of losing of my own identity.In robot-like fashion I found myself speaking and quoting studies done by experts in the field and then became aware of another storm brewing in my teacup: what miniscule contribution could I make? Would I be able to negotiate meaning for an expert audience in this genre field? Would I successfully structure the information according to issues pertinent to my research, and would I be able to identify themes that are linked to my research question?As I attempt to write, my teacup torments and reminds me again that I have become the echoing voice of experts. So during this process I am riding a storm of emotions, wondering whether I will remain a voiceless, writing wanderer, I wonder †¦ Yet, strangely losing my own voice, reminds me of our learners and teachers at school who face so many challenges with this process called writing. Reflecting on my literature, I p ondered putting to practice my knowledge of genre theory and this became one of my storm lanterns. Surely, esearching the merits of such a theory should provide me with tools to deconstruct and conquer this silly storm brewing in my tea cup? And so finally, as I begin to let go, embracing this brewing cup of storm, I am steadfastly sensing that many storm lanterns have and will guide me in finding a way to indicate to an expert audience my ability to identify, search, locate and present a coherent review of the literature. At this point the storm is still brewing, at times even raging, never fully abating but it is becoming lesser in intensity.And so, I am realising that this willy-nilly writing storm brewing in my teacup is someone else’s tornado and maybe both of these could be another writer’s cup of tea. This chapter attempts to draw on literature from genre theory, specifically genre theory based on Systemic Functional Linguistics. Hyland (2002) refers to a genre- based approach to teaching writing as being concerned with what learners do when they write. This includes a focus on language and discourse features of the texts as well as the context in which the text is produced.My primary intention is to explore the literature on different approaches to teaching writing and more specifically in what ways a genre-based approach to teaching writing could facilitate the development of writing skills at a multilingual primary school. 2. 1. 2 Framing the problem Success after school, whether it is at a tertiary institution or in the world of work, is largely dependent on effective literacy skills. To succeed one has to display a range of communicative skills, for example, listening, speaking, reading and writing tasks.But, most importantly, the quality of one’s writing determines access to higher education and well paid jobs in the world of work. In these scenarios, success or entry is dependent on either passing an English writing proficienc y test or on the skill of writing effective reports. However, writing skills are even essential in the most general forms of employment, for example, waitressing necessitates writing down customer orders and working at a switchboard implies taking messages, writing down memos or notes.Therefore, learning to write at school should be synonymous with learning and acquiring the formats and demands of different types of texts necessary in broader society. On this point, Kress (1994) argues that language, social structures and writing are closely linked. The written language taught at school reflects the more affluent social structures and thus the standard written variants are deemed more acceptable by society.However, the kind of writing taught and valued at school , that is, poetry, literature and essays is mastered by a very few learners and the control of written language is in the hands of a relatively few people. As a result of this uneven access to the types of writing valued in society, the ability to use and control the different forms of writing brings about exclusion from the social, economic and political advantages connected with writing proficiency. Consequently, in the push for greater equity and access, writing instruction globally has become a field of increasing interest in recent years.There have been numerous approaches to the teaching of writing in the history of language teaching for English as a first and second language, where first language refers to English mother tongue speakers and second language to learners who have English as a second or an additional language (see Kumaravadivelu, 2006; Hinkel, 2006; Canagarajah, 2006; Celce-Murcia, 1997) Not surprisingly, this magnitude of approaches has resulted in many paradigm shifts in the field of language teaching and in developing countries like South Africa, these international trends, approaches and paradigms shifts impact on local educational trends, as encapsulated in educational policy d ocuments. Ivanic (2004) argues that historically from the 19th and 20th century formal discourses have influenced a great deal of policy and practice in literacy education. Such discourses focused primarily on teaching of formal grammar, patterns and rules for sentence construction (pg 227). As a result, these discourses viewed language as a set of skills to be taught, learnt and mastered, and valued writing that demonstrated knowledge about language such as rules of syntax, sound-symbol relationships and sentence construction.Therefore, those writers that conformed to the correctness of grammar, letter, word, and sentence and text formation were viewed as competent writers. Furthermore, Dullay, Burt and Krashen (1982) state that the earliest work in the teaching of writing was based on the concept of controlled or guided composition and that language was seen as something that could be meaningfully visualised in taxonomies and rationalised into tables arranged across the two-dimens ional space of the textbook page. This focus on the conscious acquisition of rules and forms meant that teachers were focusing on parts of speech, demanding standards of correctness, and being prescriptive about what were ostensibly language facts.However, such an approach was found to be extremely limited because it did not necessarily produce speakers who were able to communicate successfully. Therefore, although learners might master the lists, structures and rules, this might not lead to the development of language fluency or to the ability to transfer such knowledge into coherent, cohesive and extended pieces of writing in school or beyond it. During the late 1970s more functional approaches developed. These were more concerned with what students can do with language, for example, meeting the practical demands in different contexts such as the workplace and other domains. Examples of writing tasks included filling out job applications, preparing for interviews, and writing appl ications.However, these involved minimal writing other than completing short tasks ‘designed to reinforce particular grammar points or language functions’ (Auerbach, 1999: 1). Moreover, such tasks were taught in classrooms and out of context of issues that could emerge in real contexts. As the limitations of a formalist approach to language teaching became increasingly obvious, teachers and researchers turned to a more process-oriented methodology. This focused more on the writing process than on the product and advocated expressive self-discovery from the learner/writer through a process approach to writing. Such a writing approach ‘focus[ed] on meaningful communication for learner-defined purposes’ (Auerbach, 1999:2).As a result, the learner is taken as the point of departure, and goes through a process of drafting, editing and redrafting; the teacher’s role is less prescriptive, allowing learners to be self-expressive and explore how to write. As such, the process approach won favour with those who were of the opinion that controlled composition was restrictive, viewing a liberal-progressive approach as more suited for first language classrooms (Paltridge, 2004). This approach was taken up by researchers interested in Second Language Acquisition (see Krashen, 1981; Ellis, 1984; Nunan, 1988), and in second language classes learners were also encouraged to develop ideas, draft, review and then write final drafts.On the other hand, Caudery (1995) argues that little seems to have been done to develop a process approach specifically for second language classes. Therefore, it appeared that the same principles should apply as for first language learners, for example, the use of peer and teacher commentary along with individual teacher-learner conferences, with minimal direction given by the teacher who allows learners to discover their voices as they continue through the writing process. This lack of direction was highlighted by re search in different contexts carried out by Caudery (1995) with practising teachers of second language writing. Based on questionnaires, findings showed that teachers in second language classes had differing perceptions and methods of implementing a process approach.This could however be ascribed to the different contexts that these second language teachers found themselves in, for example, large classes and different ways of assessing writing. One finding of the study was that teachers could easily dilute the process of writing into disconnected stages where both L2 learners and teachers could perceive it as steps to be followed towards an end product. As a result, the writing process became viewed as a means to an end. In addition, learners understood the process but did not explicitly learn the language features associated with different types of writing. A third approach that has gained prominence in recent decades is the socio-cultural practices approach which seeks to affirm t he culturally specific literacy practices that learners bring with them to school.Social practice advocates argue that literacy is not a universal, solely cognitive process but that literacy varies from context to context and culture to culture (Street, 1984, Barton, Hamilton & Ivanic, 2000). As a result, if literacy varies from context to context and culture to culture, then it follows that learners would bring to school different ways of writing. Accordingly, educators in multilingual classrooms should value learners’ cultural knowledge and ways of writing or use them as a bridge to new learning (Auerbach, 1999). Furthermore, the manner in which writing is taught transmits profound ideas to learners about who they are, what is entailed in the process of writing, and what they can do with writing.Therefore, the way in which writing is taught and learnt is a powerful tool for shaping the identities of learners and teachers in schools (ibid, 1999). Proponents of a fourth appro ach, the genre-based approach, have argued that both the socio-cultural and the process approaches to teaching writing result in learners being excluded from opportunities and that these approaches are in fact disempowering them (Delpit, 1998, Martin & Rose, 2005). They contend that certain domains, contexts and cultures yield more power than others and that if learners tell their stories, find their voices and celebrate their cultures; this is not enough for them to gain access to these more powerful domains.Therefore they suggest that learners should be empowered through access to writing the discourses of power, focusing on culture, context and text. Such approaches also enable an analysis of how identities, cultures, gender and power relations in society are portrayed in texts. Genre research done in Australia (see Disadvantaged Schools Project Research, 1973) where the additional language is the medium of instruction for aboriginal learners had major educational rewards for tea chers and learners participating in the project. Singapore too moved towards a text-based approach with the introduction of their 2001 English Language Syllabus (Kramer-Dhal, 2008).This approach has paid dividends for the Singapore education system, for example, continuous improvement in examination scores and achievements in international league tables, compared to the learners’ past underachievement in literacy tests (see PIRLS 2001, Singapore results) and this is maintained in the 2006 PIRLS testing of literacy and reading. The next section will draw on literature from genre theory, providing a brief overview of the notion of genre and how it has evolved as a concept. Then, literature on three different scholarly genre traditions New Rhetoric Studies, English for Academic Purposes and Systemic Functional Linguistics and their different educational contexts, purposes and research paradigms is explored and discussed. However this chapter mainly investigates literature relati ng to the Systemic FunctionalLinguistic perspective on genre, the history of genre theory and research done in Australia, the implications for schools and classrooms and how genre theory has impacted on the pedagogy of teaching literacy in disadvantaged multilingual settings. A brief overview focusing on critiques of Systemic Functional Linguistics is also provided. 2. 2 Defining Genre Johns (2002) argues that the term ‘genre’ is not new and cites Flowerdew and Medway (1994) who state that for more than a century genre has been defined as written texts that are primarily literary, that are recognised by textual regularities in form and content, are fixed and permanent and can be classified into exclusive categories and sub-categories. However, a major paradigm shift has occurred in relation to notions and definitions of genre, and texts are now viewed as purposeful, situated and ‘repeated’ (Miller, 1984).These characteristics mean that genres have a specifi c purpose in our social world, that they are situated in a specific cultural context and that they are the result of repeated actions reflected in texts. Similarly, Hyland (2004) defines genre as grouping texts that display similar characteristics, representing how writers use language to respond to similar contexts. Martin and Rose (2002) place more emphasis on the structure of genre, seeing it as a ‘staged, goal oriented social process. Social because we participate in genres with other people; goal oriented because we use genres to get things done; staged because it usually takes us a few steps to reach our goals’ (pg 7). 2. 2. 1 An Old Concept revisitedAs stated above, traditionally the concept of ‘genre’ has been used to define and classify literary texts such as drama, poetry and novels in the fields of arts, literature and the media Breure (2001). For example, a detective story, a novel or a diary are each regarded as belonging to a different genre. In recent years interest in the concept of genre as a tool for developing first language and second language instruction has increased tremendously (Paltridge, 2004; Hyon, 1996; Johns, 2002). In second language writing pedagogy in particular much interest has been focused on raising language students’ schematic awareness of genres as the route to genre and writing development (Hyon 1996; Cope & Kalantzis, 1993; Johns, 2002; Paltridge 2004).However there are various theoretical camps and their different understanding of genre reveals the intellectual tensions that are inherently part of the concept (Johns, 2002). These intellectual tensions arise from the divergent theoretical understandings of whether genre theory is grounded in language and text structure or whether it stems fundamentally from social theories of context and community. Hyon (1996) argues for three schools of thought: Systemic Functional Linguistics, New Rhetoric Studies and English for Academic Purposes where as Flowerdew (2002) divides theoretical camps into two groups: linguistic and non-linguistic approaches to genre theory. Genre, in short, continues to be ‘a controversial topic, though never a dull one’ (Kay & Dudley-Evans, 1998:308).I have chosen to follow Hyon’s (1996) classification for reviewing the genre literature because this classification makes it easier to highlight the similarities and differences in definitions, purposes and contexts, and allows for a greater understanding of various approaches to genre in three research traditions. As a result, three schools of thought New Rhetoric Studies, English for Academic Purposes and Systemic Functional Linguistics and their approaches to genre will be discussed. 2. 3 The Three Schools of Thought During the last two decades, a number of researchers who were disillusioned with process approaches to teaching writing saw genre as a tool to develop both first language and second language instruction (Hyon, 1996; J ohns, 2002; Feez, 2002).Hyon (1996) in her analysis of ‘Genre in Three Traditions and the implications for ESL’ argues that three dominant schools of thought, English for Specific Purposes, North American New Rhetoric Studies and Australian Systemic Linguistics have resulted in different approaches, definitions and classroom pedagogies of genre (see also Hyland 1996, 2002, & 2004). As Cope and Kalantzis (1993: 2) put it, ‘†¦ genre has the potential to mean many things to many people’. Paltridge (2002) calls it a ‘murky issue’. An understanding of the theoretical roots, analytical approaches and educational contexts of the different schools of thought is thus essential. 2. 3. 1 New Rhetoric Studies Genre Theories The first school of thought is the New Rhetoric approach to genre (Dias & Pare, 2000; Dias, Freedman, Medway, & Pare, 1999) which recognises the importance of contexts and the social nature of genres but it is rooted in Bakhtinâ₠¬â„¢s notion of dialogism.This notion of dialogism means that language is realised through utterances and these utterances exist in response to things that have been said before and in anticipation of things that will be said in response, and thus language does not occur in a vacuum (Adams & Artemeva, 2002). As a result, genre is a social phenomenon born by the specific goals and circumstances of interaction between people. Therefore, advocates of New Rhetoric Studies argue that genres are dynamic, relational and engaged in a process of endless utterances and re-utterances (Johns, 2002). As such, the focus of this theoretical camp is on the communicative function of language. Consequently, their perspective on genre is not primarily informed by a linguistic framework but draws on post-modern social literary theories.Accordingly, for these proponents, understanding genres involves not only a description of their lexico-grammatical format and rhetorical patterns but that also that gen re is ‘embedded in the communicative activities of the members of a discipline’ (Berkenkotter & Hucklin, 1995:2). This view of genre as a flexible instrument in the hands of participants within a community of practice has meant that the use of text in the classroom situation has not been a major focus (Johns, 2002). Theorists concentrate on how ‘expert’ users manipulate genres for social purposes and how such genres can promote the interest and values of a particular social group in a historical and/or institutional context. ContextHyon (1996:698) states that, as with English for Specific Purposes (ESP), genre teaching within this framework is predominantly concerned with first language university students and novice professionals. It is concerned with helping first language students become more successful readers and writers of academic and workplace texts. Unlike, ESP and SFL, therefore the New Rhetoric Studies refers to first language development. One co nsequence of this is that their focus is much less concerned with formal classroom instruction. Purpose The focus of writing in this framework is thus on making students aware of the contexts and social functions of the genres in which they engage (Bazerman, 1988) and not on their formal trimmings.Proponents view genres as complex, dynamic, ever changing, and therefore not amenable to explicit teaching (Johns, 2002; Coe, 2004; Cope & Kalantzis, 1993). They argue that it is through understanding of context that students can become more successful readers and writers of genres. 2. 3. 2 English for Specific Purposes Genre Theories The second major school of thought in relation to genre is English for Specific Purposes (ESP). The potential to perform competently in a variety of diverse genres is frequently a pivotal concern for English second language learners since it can be a determining factor in admission to higher paid career opportunities, higher educational studies, positive iden tities and life choices.As a result, ESP theorists ‘scrutinise the organisation and meaning of texts, the demands placed by the workplace or academic contexts on communicative behaviours and the pedagogic practices by which these behaviours can be developed’ (Hyon, 1996). Advocates of this paradigm are concerned with genre as a device for understanding and teaching the types of texts required of second language English speakers in scholarly and specialized contexts (Bhatia, 1993; Flowerdew, 1993; Gosden, 1992; Hopkins & Dudley-Evans, 1988; Swales, 1990). They propose that genre pedagogy could assist non-native speakers of English to master the functions and linguistic conventions that they need to read and write in disciplines at higher institutions and in related professions.According to Paltridge (2004), ESP genre studies are predominantly based on John Swales’s (1981, 1990) work on the discourse structure and linguistic features of scientific reports. Swalesâ €™s work had a strong influence in the teaching of ESP and more so on the teaching of academic writing to non-native English graduate students at higher institutions. Swales (1990) defines genre as ‘a class of communicative events with some shared set of communicative purposes and a range of patterns concerning structure’ (pg 68) Furthermore, Swales argues that the communicative purpose of a particular genre is recognised by members of the discourse community, who in ‘turn establish the constraints on what is generally acceptable in terms of content, positioning and format’ (Paltridge, 2004:11). ContextGiven the focus on scientific and other kinds of academic writing within this framework, genre teaching occurs mostly at universities teaching English for academic purposes and in English classes for specific writing needs, such as professional communication, business writing, and other workplace-related writing needs. However, Hyon (1996) argued that, at the time of writing, many ESP researchers had managed to present their descriptions of genres as useful discourse models but had failed to propose how this content could be used in classroom models. For example, Dudley-Evans and Hopkins presented their analysis of cyclical move patterns in scientific master’s dissertations as a teaching and learning resource but did not describe how this model could be converted into materials, tasks and activities in the classroom (Johns, 2002). Purpose As the focus of this theoretical camp is on international students atEnglish-medium universities in Britain and abroad, their focus is on demystifying rather than on social or political empowerment (Paltridge, 2004). Due to the concern in this paradigm with English for academic and professional purposes, they focus on the formal aspects of text analysis. In fact, many ESP researchers particularly emphasise the teaching of genre structures and grammatical features (Hyon, 1996) or ‘moves ’ in texts as to referred by Swales (1990). The purpose of genre teaching in this framework is therefore on teaching students the formal staged, qualities of genres so that they can recognise these features in the texts they read and then use them in the texts they write, thus providing access to ‘English language academic discourse communities’ (Paltridge, 2004:16).As a result, in their approach to textual analysis ESP theorist have paid specific attention to formal elements of genres and focused less on the specialised functions of texts and their social contexts (Hyon, 1996). 2. 3. 3 Systemic Functional Linguistics (SFL) Genre Theories This underplaying of the social context is taken up by the third school of thought, Systemic Functional Linguistics, which analyses the formal features of text in relation to language function in social context. SFL, referred to as ‘the Australian school’ in the United States of America, is rooted in the theoretical work of Halliday (Halliday, 1985; Halliday & Hasan, 1989; Johns, 2002). As a result, this theoretical camp is based on systemic functional linguistics and semiotics from which emerged the register-theory (Breure, 2001).Halliday developed his linguistic theory in order to give an account of the ways in which the English language functions as social practice (Halliday, 1985; Hasan & Halliday, 1989). As a result, this theoretical paradigm focuses on the systemic function of language from which choices are made to convey meaning within a specific context and with a specific purpose. Therefore, proponents within this framework propose that when a series of texts have similar purposes, they will probably have similar structures and language features. They are thus grouped as the same genre. Building on the work of Halliday, the idea of Systemic Functional Linguistics as a basis for language teaching emerged from the work of theorists such as Martin (1989, 1992).Christie (1991) and Rother y (1996) made attempts to take genre and grammar analysis a step further by providing and expanding scaffolds which bridge systemically between grammar and genre. They argue that texts need to be analysed as more than just mere sequences of clauses and that text analysis should focus on how language reveals or obscures social reality. Such an analysis can illuminate the ways in which language is used to construct social reality. Educational Context Cope and Kalantzis (1993) state that genre-based teaching started in Sydney as an ‘educational experiment’. The reason is, because by 1980, it seemed clear that the newly introduced progressive curriculum did not achieve the educational outcomes that it professed to (pg 1).As a result, researchers became interested in the types of writing and texts that learners in primary schools were expected to write as part of the process approach (Martin, 1989, 1991). These researchers were concerned that learners were not being prepared to write a wide enough range of texts needed for schooling, for example, findings showed that teachers mostly favoured narratives and recounts. So, genre-based research has predominantly been conducted at primary and secondary schools although it has also begun to include adult migrant English education as well as workplace training programmes (Adult Migrant Education service, 1992). As a result, in the Australian framework, the efforts of research are mostly centred on child and adolescent contexts unlike their ESP and New Rhetoric counterparts (Drury & Webb, 1991).A group of researchers in the late 1980’s started the Literacy in Education Research Network (LERN) (Cope, Kalantzis, Kress & Martin, 1993:239). Their aim was to develop an instructional approach to address the inadequacies of the process approach for teaching writing. For researchers in this paradigm, learners at school need explicit induction into the genres of power if they want to participate in mainstream te xtual and social processes both within and beyond the school (Macken-Horarik, 1996). Those learners who are at risk of failing fare better within a visible curriculum and this applies particularly to learners for whom the medium of instruction in not a home language. PurposeSystemic genre analysts contend that genre pedagogy should focus on language at the level of whole texts and should also take into account the social and cultural contexts in which texts are used (Martin, 1985, Rose & Martin, 2005). Furthermore, genres are viewed as social processes because ‘†¦ texts are patterned in reasonably predictable ways according to patterns of social interaction in a particular culture’ (Cope and Kalantzis, 1993:6). Consequently, SFL genre approaches see social purpose, language and context as interrelated in texts. Textual patterns reflect social conventions and interactions and these are executed through language.Therefore, genre teaching should move from linguistic d escription to an explanation and an understanding of why texts are shaped the way they are and how they achieve their particular goals (Paltridge, 2004). As a result, the basic principle underlying all such language approaches is that learners must learn not only to make grammatically correct statements about their world, but also develop the ability to use the language to get things done. The purpose of the Australian framework is to assist learners at school become more successful readers and writers of academic, school and workplace texts (Hyon,1996). Their goal is to help primary and secondary school learners ‘participate effectively in the school curriculum and the broader community’ (Callaghan 1991:72).Their focus is on learners learning to write in English as a second language and the challenges these learners might experience when writing and learning in a language that is not their mother tongue. Therefore they argue for explicit teaching through a cycle that à ¢â‚¬Ëœmodels and makes explicit the dominant forms of writing or text types valued in schools’ (Gibbons, 2002:52). Writing in an American context of disadvantaged students, Delpit (1998) strongly argues for the teaching of the genres of power, stating that if a learner is not already part of the culture of power, explicitly teaching the rules of this culture through genre makes access easier.Consequently, research on genre theory has been both politically and pedagogically motivated: a pedagogical project motivated by the political project of allowing equal access to social, economic and political benefits of Australian society through an explicit and visible literacy curriculum (Kress, 1993). As a result, Australia is often referred to as the place in which practitioners have been most successful in applying genre theory and research to pedagogy (Johns, 2002). My intention is to explore the use of SFL genre-based teaching as an alternative approach to teaching writing in gra de six at a multilingual primary school. However, approaches to research and pedagogy of SFL have not been accepted without critiques.These critiques originate from advocates of progressive literacy approaches (Lankshear & Knobel, 2000) and also from within genre camps practicing genre theory from different theoretical understandings. In the next section, I provide details of these critiques and a personal response to each critique. 2. 4 Critiques of genre of SFL There have been many critiques of SFL genre-based approaches, as mentioned in the previous section. Here I discuss three of the most telling: liberal progressive critiques, socio-cultural practice theorist critiques, and critical discourse analysts’ critiques about teaching the genres of power. The liberal progressivists claim that genre literacy entails a revival of transmission pedagogy.It seems to mean learning formal ‘language facts’ again. It is sometimes claimed that genre literacy teaching is foun ded on a pedagogy that will lead us back to the bad old days of authoritarian classrooms where some students found the authority congenial and succeeded, while others found the authority uncongenial and failed (Cope & Kalantzis, 1993). However, in contrast to transmission approaches which often treated texts in isolation and grammar as separate and external from the text, a genre-based approach views texts as closely linked to social context and uses linguistic analysis to unpack the choices that are made for social purposes. Rather than unthinkingly replicating rules, learners are ssisted towards conscious control and can be encouraged to exercise creativity and flexibility on an informed basis. The ‘authority’ provided acts as a scaffold and is gradually withdrawn, thus shifting responsibility towards the learner. A second major critique has been raised by social practice theorists such as Lave and Wenger (1991) whose research focus is from a situated learning perspec tive. These advocates of situated learning view genres as too complex and diverse to be detached from their original contexts and taught in a non-natural milieu such as the classroom context. Also, they argue that learning occurs through engaging with authentic real world tasks and that learning to write genres arises from a need in a specific context.Therefore, in authentic settings, writing involves the attainment of larger objectives, which often involve non-linguistic features, and thus the disjuncture between situations of use and situations of learning is unbridgeable. However, although this theory offers a persuasive account of how learning takes place through apprenticeship and mastery roles, especially how an apprentice becomes a fully literate member of a disciplinary work group, it does not propose a clear role for writing teachers in the language classroom (Hyland, 2004). In a SFL genre approach by contrast, the selection of topics and texts can highlight how cultures ar e portrayed as either negative or positive.It can help learners become aware of how language choices in texts are bound up with social purposes (Lankshear & Knobel, 2000). This awareness is necessary for entry into intellectual communities or social discourses and practices, and can help make learning relevant, appropriate and applicable to the context in and outside of the classroom. It can also include a critical element as it provides learners with a linguistic framework to analyse and critique texts. A final important critique is that teaching of the genres of power will not automatically lead to social and economic access in a fundamentally unequal society (Cope & Kalantzis, 1993).While this may be true, the consequences of not teaching these genres could lead to English second language speakers’ from poor working class backgrounds being disadvantaged in perpetuity. The discourses of scientists, doctors and lawyers, for example, are often incomprehensible and obscure, de nying access to many, particularly second English language speakers and those not familiar with the conventions of their associated genres. These social exclusions are marked linguistically (Cope and Kalantzis, 1993). Therefore, SFL genre theorists’ notion of genres as textual interventions could provide access and equity to those not familiar with a particular discourse in society.Consequently, genre teaching in this framework has the intention of empowering disadvantaged and underprivileged students by providing them with the linguistic resources to critically analyse and become more proficient writers of different text types, thus potentially providing access to the socio-economic and political domains currently denied to many learners at schools. A related point is that a genre-based approach runs the risk of reproducing the status quo (Luke, 1996). However, a genre approach should be able to include issues of inequality and power relations in the teaching context by adop ting a critical education theoretical perspective, which strives to unveil existing deep-rooted ideologies within society with the intention of empowering students to question and change the status quo.If teachers are made aware of such aspects in texts, how meaning is constructed and negotiated in texts, and how this shapes our thinking about the world, they might be able to raise awareness and consciousness about power inequalities through the development of effective critical literacy skills in English additional language classes. At the same time, ‘functional ways of talking and thinking about language facilitate critical analysis’ (Hyland, 2004: 42). As a result, it may assist learners to distinguish texts as constructs that can be debated in relatively accurate and explicit ways, thus becoming aware that texts could be analysed, evaluated, critiqued, deconstructed and reconstructed. Such awareness is crucial for further education or academic studies at higher inst itutions of learning. Thus a genre-based approach to teaching writing might bridge the gap between writing required at school and the academic writing skills essential for undergraduate studies.Having sketched the broad parameters of the three main approaches to genre and how genre approaches have developed in different ways and with different underlying goals, I now focus in greater detail on the Australian Framework. This approach appears to offer the greatest scope for South African contexts given its intention to provide equity and access to social and economic spheres in society, which is also a central principle of the South African Constitution (1994) and C2005. Furthermore, the focus on English second language learning contexts and aboriginal learners from disadvantaged, poor working class communities is similar to learners from disadvantaged communities who learn mostly through a medium of instruction which is not their home language.Another important reason for focusing on this approach is that this genre-based approach could inform the teaching of writing and future teacher training frameworks that aim to improve the literacy outcomes of learners in the intermediate phase in South African contexts. 2. 5 A Closer look at The Australian Framework It was Michael Halliday (1975) a professor of Linguistics at the University of Sydney, who was the founding father of systemic functional linguistics (SFL) and provided the catalyst for the development of genre theory in Australia (Cope and Kalantzis, 1993). Halliday and his theory of systemic functional linguistics introduced the theme of ‘learning language, learning through language, learning about language’ (Cope and Kalantzis, 1993:231).As discussed above, SFL focuses on language and how it functions or is used in cultural and situational contexts and argues that language can be described or realised by means of a framework comprising cultural context, situational context and linguistic featu res. The Australian framework is therefore rooted in a text-context model of language (Lankshear &Knobel, 2000; Gibbons 2002; Derewianka 2003). Furthermore, SFL interprets the context of situation and the context of culture as two interrelated domains (Christie & Unsworth 2000). The context of situation is the immediate context in which language is used. However this context of situation can vary in different cultures and as such it is culture-specific.This situational context is described in three main categories of semantic resources, field, mode and tenor, and collectively this is referred to as the register of a text (Lankshear & Knobel, 2000) The field describes the subject-matter of the social activity, its content or topic; tenor focuses on the nature of the relationships among the people involved; mode refers to ‘medium and role of language in the situation’ (Martin, 1997: 10) Therefore, it is the register (field, tenor and mode) which influences how language is used because it provides the social purpose of the text through answering ‘what is going on, who is taking part, the role language is playing’ (Martin & Rothery, 1993: 144). Hence, SFL explores the relationship between language and its social functions.The earliest work on applying this framework to education was carried out by Martin and two of his students Rothery and Christie who started a research project in 1978 using the field, tenor and mode framework to analyse writing produced in schools (Cope & Kalantzis, 1993; Kress, 1993). In 1980 Martin and Rothery examined student writing that had been collected over numerous years (Cope and Kalantzis, 1993). Their findings indicated that most school valued texts were short and limited to a few genres for example, labelling, observation, reports, recounts and narratives, with observations and recounts being the dominant genres (pg 233). Furthermore, they found that the texts produced in textbooks lacked development, even within story genres, were extremely gendered, and irrelevant to the needs of the community or secondary schools.They then developed the hypothesis that genres at schools should be explicitly taught by teachers. This research resulted in the development of a curriculum cycle providing scaffolding and explicit teaching through setting the field, deconstructing a text, modelling writing, jointly constructing a new text and culminating with individual writing (Macken-Horarik, 1998; Feez; 2002; Paltridge, 2004; Cope & Kalantzis, 1993; Martin& Francis, 1984). Building field and setting context is critical to each phase of the cycle and this refers to a range of activities which build up content for the genre and knowledge about the contexts in which it is deployed (Martin & Rose, 2000).In this way, learners move from everyday, common sense knowledge towards technical, specialist subject knowledge, and are gradually inducted into the discourse and field knowledge of school subjects. As a r esult, this approach can strengthen and promote learning language and about language across the curriculum. The logic of the curriculum cycle is based on the notion of ‘scaffolding’. Hammond (2000) and Gibbons (2002) refer to this as ‘scaffolding language’ based on Vygotsky’s (1976) zone of proximal development (Derewianka, 2003). In this process the teacher takes a more direct role in the initial phase, with the learner in the role of apprentice. As the learner develops greater control of the genre, the teacher gradually withdraws support and encourages learner independence (Derewianka, 2003).Therefore, genre literacy has the intention to reinstate the teacher as professional, as expert on language, whose role in the classroom should be authoritative but not authoritarian as opposed to the teacher as facilitator in more progressive teaching models (Cope & Kalantzis, 1993). As a result, the curriculum cycle and its scaffolding approach could be valua ble in activating the schemata of English second language learners as opposed to a context where English teaching approaches are traditional and narrow. Such approaches could have negative educational impacts on disadvantaged learners. 2. 6 The Disadvantaged Schools Programme Luke and Kale (1989:127) argue that monolingual and monocultural practices permeated official language and education planning in Australia prior 1970. Similar to South African apartheid policies, Australia practiced a ‘White Australian Policy’ (Luke & Kale, 1989:127).However, in the early 1970s the Australian government recognised that aboriginals and islander learners should be integrated into mainstream schools (Luke & Kale, 1989). As a result, the need to acknowledge Aboriginal and migrant languages became a priority in educational policies. Furthermore, Diane Russell (2002) states that up to 1967 very few Aboriginal students in South Australia entered secondary school unless they were wards of the state and, given this history of disadvantage, much of the literature about the education of Aboriginal students since then refers to the poor retention and attainment rate of Aboriginal students compared to their non-Aboriginal peers.As a result, the Disadvantaged Schools Programme (DSP), an initiative of the Interim Committee of the Schools Commission (1973), was initiated to reduce the effects of poverty on learners at school (McKenzie, 1990) and participation was based on the social and economic conditions of the community from which the school draws its learners. Thus the intention of the DSP was to improve the learning outcomes of learners from educationally disadvantaged backgrounds in Australia to increase their life choices (Randell, 1979). Therefore, a fundamental aim of the DSP was to equip disadvantaged learners with power, through education, to enter and share fully in the benefits of society as a matter of social justice.Furthermore, a majority of Aboriginal people grow up in homes where Standard Australian English is at most a second dialect, sometimes first encountered on the first day of school. Accordingly, accepting the language children bring to school and using that to build competence in Standard Australian English is the ‘key to improving the performance of Aboriginal students’ (www. daretolead. edu. au). Genre theorists have been concerned with equitable outcomes, thus discourses of generation, ethnicity and class have been a preoccupation. These theorists argued that progressive pedagogies were marginalising working-class Aborigine and other disadvantaged learners (Cope & Kalantzis, 1993).For Burns (1990) progressive curriculum approaches led to a confusing array of approaches and methodologies and failed to provide a well-formulated theory of language. Further, Cope (1989) argued that an ‘authoritative’ pedagogy for the 1990s was needed to replace the progressive curriculum of the mid-1970s as this had ne glected to make explicit to learners the knowledge they need to gain to access socially powerful forms of language. Due to the above kinds of debates in the SFL genre theory camp, a literacy consultant, Mike Callaghan, working with the DSP in Sydney, decided that SFL might be a viable theory and this resulted in the Language and Social Power Project.Teachers who were disillusioned with progressive teaching methods became eagerly involved in this project (Cope & Kalantzis, 1993). Additionally, Cope and Kalantzis (1993) report that teachers discovered that genre theory did not dismantle all the progressive language approaches; in fact, it enhanced progressive language teaching and highlighted that there is a social purpose in writing. This, however, meant teachers’ knowledge and skills about language in social contexts had to be developed through extensive in-service training and in-class support 2. 7 Research originating from the Disadvantaged Schools Programme Scholars like M artin and Rothery (1986) began to analyse texts using SFL theory.This took the form of linguistic analysis with each text being deconstructed into its structural features, or schematic phases, and then being analysed for its typical language features. Most of these projects aimed to link theory and practice (Cope & Kalantzis, 1993). As a result, teachers gained knowledge and an ability to critically analyse the texts that they used in practice. Research identified factual genres such as reports, expositions, discussions, recounts, explanations, and procedures, which could be used in classrooms. Furthermore, as this project progressed, the data were translated into classroom practice using a pedagogical model developed by project members that resulted in a major breakthrough for the classroom, that is, the curriculum cycle or the teaching and learning cycle (Callaghan & Rothery, 1988).The National Centre for English Language Teaching and Research was commissioned in 1990 to evaluate the effectiveness of projects like the Language and Social Power Project and was asked to report on improvements in learner writing as well as on the impact of genre pedagogy on teachers’ knowledge of the social function of language and their ability to assess the effectiveness of learners’ writing (Cope & Kalantzis, 1993). The findings of the report highlighted an ‘overwhelmingly’ positive response from participating teachers (Cope & Kalantzis, 1993). Teachers praised the in-service and the in-class support of the demonstration lessons as well as the backup support material, both printed and audio-visual. Furthermore, in terms of evaluating the learners’ written texts, it was found that learners from participating schools wrote a broader range of genres, that these included more factual texts, and that these learners had a higher success rate than learners from non-participating schools (Cope & Kalantzis, 1993). 2. 9 SFL and the School Writing Curr iculumKress (1994) states that until recently ‘writing has been regarded as an alternative medium of language, giving permanence to utterances’ (pg 7) and attention on writing was thus focussed on mechanical aspects. However, increasing evidence indicates that speech and writing have distinct grammatical and syntactic organisation, and further that writing and speaking occur in distinct social settings which have significant effects on the syntactic and textual structures of speech and writing (Kress, 1993). Literacy in many Western schools presupposes that learners have developed spoken language skills in the relevant language but this may not be the case for second language learners (Gibbons, 2004).As a result, these learners would have even more to learn about writing because learners initially use their knowledge about spoken language to bridge the divide between speaking and writing (Kress 1994). The school writing curriculum and its teachers are then powerful in d eveloping or hindering the writing development of learners in primary school. As discussed above, writing curricula drawing from progressive theories which stress the process of writing over content, see the teacher as a facilitator of writing, and no focus on linguistic rules for speaking or writing could result in English second language learners being denied access to development as writers. Therefore, writing curricula which focus on the teaching of genre are potentially powerful in that they could provide ‘generic power’ to learners. Power to use, interpret, exploit and innovate generic forms is the function of generic knowledge which is accessible only to members of disciplinary communities’ (Bhatia, 2003:67). Accordingly, the teaching of SFL genre approaches and their linguistic frameworks could provide a scaffold for English second language learners to be inducted into social contexts, purposes and linguistic features of both spoken and written dominant d iscourses. Such approaches might lead towards opportunities for equity and access for non-native speakers of English. A writing curriculum rooted in genre theory would have implications for the classroom and the next section discusses some of these implications for pedagogy. 2. 9. 1 SFL Genre in the classroomThe teaching of genre in the classroom requires explicit teaching of language at text level and of the interdependence of language use and context (Paltridge, 2004). Halliday and Hasan (1985) state that SFL deals with language in context: ‘The context of situation, the context in which the text unfolds, is encapsulated in the text, not in a kind of piecemeal fashion, not in the other extreme in a mechanical way, but through a systemic relationship between the social environment on the hand, and the functional organisation of language on the other. If we treat both text and context as semiotic phenomena, as modes of meaning, so to speak, we can get from one to the other in a revealing way. ’ (Pgs 11-12)Such an approach implies that language teachers in primary and secondary schools should not only have English subject knowledge but also understand and have knowledge of linguistically informed genre-based literacy pedagogy. 2. 10 Conclusion This chapter has provided an overview of the three main schools of thought in relation to genre and then focused in more detail on the theoretical perspective which seems to offer the most productive insights for the South African context, Systemic Functional Linguistics. The next chapter describes the methodology I used to investigate the potential of such an approach in one primary school. Bibliography Adams, C. & Artemeva. N. (2002).Writing Instruction in English for Academic (EAP) classes: Introducing second language learners to the Academic Community. In M. 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