answer the questions and write the references under every question in word

Answer the questions and write the References Under Every question in word

Europe and the New World
Things to Consider:

Timeline:

1492: Columbus arrives in New World
1521: Cortes completes conquest of the Aztecs
1533: Pizarro completes conquest of the Inca

See Essay, “Arts of the Contact Zone”

** Homework Questions ** 1902:

What, according to the editors, were the consequences of Spain’s conquest of Mexico?
Explain: “Columbus reads his surroundings largely by denying all evidence of culture” (1902).

1903:

What factors, according to the editors, made the Spanish conquest of the New World a long and complex process?
Who is Bartolome de las Casas ?

1904:

Describe the process by which the Europeans collected and preserved information about the cultures they encountered in the New World.

Christopher Columbus (1450-1506) “Letter Concerning the First Voyage” (1493) Homework Questions: 1921:

What are the main points of this letter?
What is evangelization? How does it function in Columbus’s interaction with the people he encounters?

1922:

Explain the names Columbus assigns to the different islands.

1922-25:

How does Columbus describe the people he encounters?

1923:

Explain the process of gift exchange in which Columbus and his men participate.

1924:

Explain: “The island is without personal danger to them if they know how to behave themselves” (124). To whom is Columbus referring?

Hernán Cortés (1485-1547)Homework Questions:1926:

How, according to the editors, does religion function in Cortes’s conquest of the Aztecs?

“The Second Letter to Charles V” (1520)
1927:
Who is Moctezuma?

1928:

Explain Moctezuma’s reasons for his subservience to Cortés.

1929:

Why does Cortés decide to imprison Moctezuma?

1930-32:

How does Cortés describe Tenochtitlán?

1932:

Explain Cortés’s treatment of the idols and the temples.

1933-34:

Why are the Spanish so unsuccessful in the battle against the natives?

1934:

Mary Louise Pratt
“Arts of the Contact Zone” (1981)

Terms to Know:

contact zone (34)
autoethnography (35)
autochthonous (35)
quipus (35)

transculturation (36)
imagined communities (37)
safe houses (40)

Homework Questions: 34:

What does Pratt mean by an “unreadable text” (34)?
What does Pratt mean by a “contact zone” (34)?

35:

What is the difference between an “autoethnographic text” (35) and an “autochthonous text” (35)?
Explain: “Guaman Poma mirrors back to the Spanish (in their language, which is alien to him) an image of themselves that they often suppress, and will therefore surely recognize” (35).

36:

What is transculturation? How does Poma engage in it?
Explain the significance of the spatial symbolism of the three figures in the text.

37:

What does Pratt mean by “imagined communities” (37)?

38:

Explain: “In keeping with autonomous, fraternal models of community, analyses of language use commonly assume that principles of cooperation and shared understanding are normally in effect” (38).

39:

Explain: “Internal social groups with histories and lifeways different from the official ones began insisting on those histories and lifeways as part of their citizenship, as the very mode of their membership in the national collectivity” (39).

40:

What does Pratt mean by “safe houses” (40)?

“Group” Discussion Questions:

What is the significance of the story about Pratt’s son and his baseball card collection? How does it illustrate the points she makes in the rest of the essay? Refer to specific statements in your response.
What are “the sociocultural complexities produced by conquest and empire” (34)? How does Guaman Poma exemplify those complexities? What other examples of writers who do so can you identify?
Explain: “If one thinks of cultures, or literatures, as discrete, coherently structured, monolingual edifices, Guaman Poma’s text, and indeed any autoethnographic work, appears anomalous or chaotic. . . . If one does not think of cultures this way, Guaman Poma’s text is simply heterogeneous” (36).
Explain: “Modern views of language as code and competence assume a unified and homogeneous social world in which language exists as a shared patrimony–as a device, precisely, for imagining community” (38). Look especially at “code,” “competence,” and “shared patrimony.”
Explain: “If a classroom is analyzed as a social world unified and homogenized with respect to the teacher, whatever students do other than what the teacher specifies is invisible or anomalous to the analysis” (38). How do the sentiments in this quote relate to the rest of the essay? How do power relations influence his situation?
In what ways can Morgan be identified as a “contact zone”? In what way is it a “safe house”? Explain. Refer to specific parts of Pratt’s essay in your response.

Florentine Codex (1547-79) 1936:

In what ways can this text, according the editors, be considered “the first work of modern anthropology” (1936)?

1937:

How do Moctezuma’s messengers describe the Spaniards?

1938:

Who is Mariana? What purpose does she serve?
How does Moctezuma respond to the news of the approaching Spanish?

1939:

Why do the Spanish attack the Cholulans?

1940:

How, according to the emissaries, are the Spaniards like monkeys and pigs?

1941:

Describe the interaction between Moctezuma and Cortés.
How does this description compare to Cortes’s?

1942:

What happens in the Great Palace?

 
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A block of unknown mass is attached to a spring with a spring constant of 6.50 N/m and undergoes simple harmonic motion with an amplitude of 11.5 cm. When the block is halfway between its equilibrium position and the end point, its speed is measured to be 29.0 cm/s. (a) Calculate the mass of the block

A block of unknown mass is attached to a spring with a spring constant of 6.50 N/m and undergoes simple harmonic motion with an amplitude of 11.5 cm. When the block is halfway between its equilibrium position and the end point, its speed is measured to be 29.0 cm/s.

(a) Calculate the mass of the block.

(b) Calculate the period of the motion.

(c) Calculate the maximum acceleration of the block.


 


The post A block of unknown mass is attached to a spring with a spring constant of 6.50 N/m and undergoes simple harmonic motion with an amplitude of 11.5 cm. When the block is halfway between its equilibrium position and the end point, its speed is measured to be 29.0 cm/s. (a) Calculate the mass of the block appeared first on nursing assignment tutor.

Assessment plan | ECE 657 Assessment to Support Young Children and Families | Ashford University

 

Assessment Plan

As early childhood educators, it is our job to ensure that students are learning and developing at an appropriate rate. As we have learned throughout this course, using developmentally appropriate assessment is one of the most efficient ways to be able to ensure that this happens. While it is our responsibility to understand the assessment process and the various strategies, tools, and procedures that are used with young children, the families of the children we work with may not always understand why we are doing what we are doing when it comes to assessment. As the director of an NAEYC-accredited preschool, you have decided to develop a comprehensive strengths-based and family-centered assessment plan where families are included each and every step of the way.

For this assignment you can choose to create your assessment plan in many formats. You could develop a handbook using Word, create a PowerPoint Presentation, or even create an assessment website using a tool such as Weebly. Regardless of which format you choose, your strengths-based and family-centered assessment plan must include the following sections:

Introduction:

  • Describe your center or school’s philosophy of assessment. Your philosophy must be supported by scholarly or credible sources.

Goals, Benefits, and Uses of Assessment:

  • Explain the purpose of assessment. Refer back to your first Week One discussion to assist with this.
  • Discuss the assessment cycle. Refer back to your second Week One discussion to assist with this.
  • Describe the principles of assessment that will guide the use of assessment in your center. Refer back to your second Week One discussion to assist with this.

Types of Assessments: For each of the types of assessment listed below, you will need to define the assessment, provide a rationale for using this type of assessment, share an example, and explain at least one way you use the information from this assessment to inform your instruction.

  • Observations. (Refer back to your work from Week Three to assist with this.)
  • Checklists, rating scales, rubrics. (Refer back to your Week Four discussion to assist with this.)
  • Teacher-designed assessments. (Refer back to your Week Four assignment to assist with this.)
  • Performance-based assessments. (Refer back to your Week Five discussion to assist with this.)
  • Standardized assessments. (Refer back to your work in Week Two to assist with this.)
  • Portfolios. (Refer back to your Week Five assignment to assist with this.)

Using Assessments to Inform Instruction:

  • Analyze how the assessments you are using meet ethical standards
  • Examine how you use these assessments to make decisions; include specific examples
  • Discuss how you will use assessments to help ensure students are meeting their goals on their IEPs and/or IFSPs.

Assessment Partnerships with Families:

  • Explain how your school will develop an assessment partnership with families. Include specific strategies for involving families and communities in their children’s learning and development. (Refer back to your Week Six discussion to assist with this.)
  • Discuss, using specific examples, how you will use parent conferences to communicate about assessments. (Refer back to your Week Three assignment to assist with this.)
  • Explain how diverse families and community characteristics will be taken into consideration when communicating about assessments.
  • Share at least two professional organizations or assessment based resources you can provide families with to help them better understand the use of assessments.

summary 5 2

A PSYCHOLOGICAL SELFIE PORTRAIT

The selfie is so ubiquitous these days that even iphones have “selfie” modes! The subculture of the selfie exploded with the onset of the mirror camera mode- and now, it would be difficult to find anyone that has a smart phone that does not know what a selfie is. However, this practice has been around for hundreds of years, and was previously identified as a “self portrait”. The earliest that I can identify are from as far back as the Renaissance (1500’s). Not all artists worked in this mode, however this is when we see artists reflecting back on themselves, some more often than others (Rembrandt).

For this week’s summary, you are going to create a psychological self portrait that is influenced by an artist from the textbook, and analyze it as an art historian might, or someone with a trained eye might, (like yours!).

A psychological self portrait gives us an insight into your emotions and feelings. It tells us of where you are at mentally and emotionally. Color, size, iconography, how much space your image takes up in the composition: these elements together tell us the story of you, in that moment.

***********************

Here are the Requirements:

1. Take a photograph of YOURSELF that is psychologically interesting. It MUST be inspired by an image from the textbook*. Use your phones camera settings to adjust the colors, zoom in, crop, etc. Your selfie portrait must tell a story that you will interpret based on these elements:

Composition, Vantage; are you central and up close? Significantly small and off center? Zoom in! Or out!

  • Up close leaves no mystery, as opposed to far away
  • Central gives you the dominant role, off center may indicate a role reversal of central importance

Color; black & white, color saturation- vivid, faded. Use your phone’s camera settings to adjust the colors to suit the psychological interpretation.

  • Bright saturation may indicate a false intensity
  • Faded colors may indicate lack of emotion, loss
  • Black and white can tell of loss of vigor, or create extreme drama

Iconography: Props, clothing

  • Objects and types of clothing must add to the story of your mental and emotional status and lead to an interpretation.

2. Analyze your selfie based on the 3 elements:

  • composition
  • color
  • iconography/objects

3. Reflection: was it successful? Does it create the psychological portrait you were hoping for?

4. Identify the artist’s work that you took inspiration from. This MUST be from the textbook. Is the inspiration evident? How was it inspired by the artist? Be specific. Make your image look as close as you can to your inspired art-work.

Thanks!

**************************

Things to consider:

You may create a factitious character like Cindy Sherman did. This broadens your possibilities. Make up a totally new you!

Use an artist from the textbook as an inspiration; you do not have to copy them.

*Refer to pgs 317-323, or images 11.4-11.13 for reference.

Things not to do:

  • No normal everyday selfies.
  • No environments/backgrounds that are vague or not directly related to your psychological portrait.
  • Use the timer mode on your phone, so…..no hands holding the phone. Make it a real portrait!

WRITTEN SUMMARY REQUIREMENTS:

  1. Provide the information in the numbered format above.
  2. CITE sources, if you use them (it is not necessary to use another source other than your text book). Your submission will be scanned through for originality. I will use this data to inform your grade. If you do not cite, it will “appear” that plagiarism is taking place.
  3. Limit your Summary to one page. Exceeding WILL result in a grade drop.
  4. Must be submitted as a pdf file.

 

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