November 2022 – Page 185 – Homework Handlers

Assignment Phonemic Awareness Skills

November 25, 2022/in Uncategorized /by SK

Part 1: Phonemic Awareness Table

Complete the “Phon

Phonemic Awareness Table

Part 1: Phonemic Awareness Table

Task	Scripting	Description and Purpose of Task	Alignment Common Core or Other State Standards
Phoneme Isolation	Example: Teacher: “What is the first sound in van?” Students: “The first sound in van is /v/.” Teacher: Students:
Phoneme Identity	Example: Teacher: “What sound is the same in fix, fall, and fun?” Students: “The first sound, /f/, is the same.” Teacher: Students:
Phoneme Categorization	Example: Teacher: “Which word doesn’t belong? Bus, bun, rug.” Students: “Rug does not belong. It doesn’t begin with /b/.” Teacher: Students:
Phoneme Blending	Example: Teacher: “What word is /b/ /i/ /g/?” Students: “/b/ /i/ /g/ is big.” Teacher: “Now let’s write the sounds in big: /b/, write b; /i/, write i; /g/, write g.” Teacher: (Writes big on the board.) “Now we’re going to read the word big.” Students: (Reading from the board) “Big” Teacher: Students:
Phoneme Segmentation	Example: Teacher: “How many sounds are in grab?” Students: “/g/ /r/ /a/ /b/. Four sounds.” Teacher: “Now let’s write the sounds in grab: /g/, write g; /r/, write r; /a/, write a; /b/, Teacher: (Writes grab on the board.) “Now we’re going to read the word grab.” Students: (Reading from the board) “Grab” Teacher: Students:
Phoneme Deletion	Example: Teacher: “What is smile without the /s/?” Students: “Smile without the /s/ is mile.” Teacher: Students:
Phoneme Addition	Example: Teacher: “What word do you have if you add /s/ to the beginning of park?” Students: “Spark” Teacher: Students:
Phoneme Substitution	Example: Teacher: “The word is bug. Change /g/ to /n/. What’s the new word?” Students: “Bun.” Teacher: Students:

Part 2 Rationale:

emic Awareness Table,” by identifying and using words from the “Birthday Soup” excerpt from this topic’s readings, script phonemic awareness practice activities for the following phoneme tasks:

Phoneme Isolation
Phoneme Identity
Phoneme Categorization
Phoneme Blending
Phoneme Segmentation
Phoneme Deletion
Phoneme Addition
Phoneme Substitution

Part 2 Rationale:

In 250-500 words reflect upon how this activity promotes literacy development. Be sure to explain how you will use your findings in your future professional practice.

In addition, describe each phoneme task, along with its purpose and Common Core or other state standard alignment.

Submit your table with your reflection as one deliverable.

APA format is not required, but solid academic writing is expected.

You are required to submit this assignment to LopesWrite.

Decription Paper

November 25, 2022/in Uncategorized /by SK

WORLD OF ART

CHAPTER

EIGHTH EDITION

World of Art, Eighth Edition Henry M. Sayre

Discovering a World of Art

Learning Objectives

Differentiate between passive and active seeing.

Define the creative process and describe the roles that artists most often assume when they engage in that process.

Discuss the different ways in which people value, or do not value, works of art.

Introduction
1 of 3

Cai Guo-Ziang utilized gunpowder as an artistic medium in his Project to Extend the Great Wall of China by 10,000 Meters…, which created an explosion that formed an ephemeral red line.
Gunpowder was an essential Chinese medium; instead of using it for destruction, the artist wished to bring people together through the beauty of the pyrotechnic display.

Cai Guo-Qiang, Project to Extend the Great Wall of China by 10,000 Meters: Project for Extraterrestrials No. 10.
Realized in the Gobi desert, February 27, 1993, 7:35 pm.
Photo by Masanobu Moriyama, courtesy of Cai Studio. [Fig. 1-1]

Introduction
2 of 3

For the Olympic Games in 2008, Cai was chosen to direct the visual and special effects for both opening and closing ceremonies.
A trail of 29 “footprints of history” made in fireworks was fired across the sky between Tianenmen Square and the Olympic Stadium, the Bird’s Nest.

Cai Guo-Qiang, Footprints of History: Fireworks Project for the Opening Ceremony of the 2008 Beijing Olympic Games.
2008.
Photo by Hiro Ihara, courtesy of Cai Studio. [Fig. 1-2]

Herzog & de Meuron, The Bird’s Nest—Beijing National Stadium.
2004–08.
© Xiaoyang Liu/Corbis. [Fig. 1-3]

Introduction
3 of 3

For the Olympic Games in 2008, Cai was chosen to direct the visual and special effects for both opening and closing ceremonies.
However, the work was aired as a video rather than live due to the conditions of smog in Beijing.
Cai believed the video was necessary, and considered it a second work of art.

The World as We Perceive It

Objections to Cai’s Footprints of History mainly centered around the violation of trust regarding a digital film being broadcast instead of the “real thing.”
Many of us assume that we can trust our eyes to give us accurate information and an understanding of the world.

The Process of Seeing
1 of 2

Visual processing can be divided into reception, extraction, and inference.
The human retina “edits” information perceived from external sources.
Seeing is inherently creative, as you decide what details are important.

The Process of Seeing
2 of 2

Trompe-l’oeil is a technique literally meaning “trick the eye.”
Richard Haas is a painter known for such architectural murals, such as the one on the west facade of the Oregon Historical Society.
Stored visual information can also trick a viewer, even for images seen on a regular basis, such as the American Flag.

Richard Haas, Oregon Historical Society. Portland, OR.
1989.
Keim silicate paint, 14,000 sq. ft. Architect: Zimmer Gunsel Frasca Partnership. Executed by American Illusion, New York.
Photo courtesy of Richard Haas. © Richard Haas/Licensed by VAGA, New York. [Fig. 1-4]

Active Seeing

Jasper Johns’s Flag takes a familiar image and examines it more closely.
It was painted during the Cold War era, a time when America obsessed over patriotism through McCarthyism and the Space Race.
Audiences were disturbed by newspaper scraps visible beneath the surface.

Jasper Johns, Flag.
1954–55. Encaustic, oil, and collage on fabric mounted on plywood (three panels),
42-1/2″ × 5′-5/8″. Museum of Modern Art, New York.
Gift of Ms. David M. Levy, 28.1942.30. © 2015. Digital image, Museum of Modern Art, New York/Scala, Florence. © Jasper Johns/Licensed by VAGA, New York. [Fig. 1-5]

Active Seeing

Faith Ringgold’s God Bless America was created during the Civil Rights movement.
Here, the stripes have been turned into prison bars and the star becomes a sheriff’s badge.
The white woman is portrayed as both patriotic and racist, a prisoner of bigotry.

Faith Ringgold, God Bless America, No. 13 from the series American People.
1964. Oil on canvas, 31 × 19″. ACA galleries.
© Faith Ringgold, Inc. 1964. [Fig. 1-6]

The World as Artists See It
1 of 2

Cai did not choose to go to Dunhuang simply to extend the end of the Great Wall of China; the area was the place where East and West first intersected.
A terra-cotta figure from the Tang dynasty shows a Bactrian camel that would have transported goods.
The region also has the greatest collection of early Chinese art.

Caravaneer on a camel, China.
Tang dynasty, (618–907). Polychrome terra-cotta figure. 17-1⁄8″ × 14-1⁄8″.
Musée des Arts Asiatiques-Guimet, Paris.
Inv. MA6721.Photo © RMN-Grand Palais (musée Guimet, Paris)/Thierry Ollivier. [Fig. 1-7]

The World as Artists See It
2 of 2

Legend has it that a cave-temple was dug by a Buddhist monk named LeSun, over the years becoming more decorated until it was recognized in the fourteenth century as the Mogao Caves.
492 of these caves are decorated with murals, together about 40 times longer than the walls in the Sistine Chapel.

Mogao Caves (Caves of a Thousand Buddhas) Dunhuang, China.
© Joan Swinnerton/Alamy. [Fig. 1-8]

Reclining Buddha, Mogao Caves, Cave 148, Dunhuang, China.
Middle Tang dynasty, (781–847). Length: 51′.
Photo: Tony Law. © Dunhuang Research Academy. [Fig. 1-9]

The Creative Process

Artists engage in critical thinking.
They respond to the unexpected, chance occurrences and are open to new ways of thinking.
The artist manages the process from seeing to imagining to making, becoming self-critical and exploring the possibilities of their work.

Art and the Idea of Beauty
1 of 2

Aesthetics refer to our sense of what is beautiful and vary across cultures over time.
Western culture values order, regularity, proportion, and design, which are hallmarks seen through Classical art and architecture.
Mountain ranges were dismissed until the nineteenth century in the U.S.

Art and the Idea of Beauty
2 of 2

The human body is also a widely contested source of beauty.
Imagine tall, slender fashion models compared to Peter Paul Rubens’s fleshy nudes.
Pablo Picasso’s representations of women are almost demonic, segmented and abstracted in a battle between attraction and repulsion.

Pablo Picasso, Seated Bather (La Baigneuse).
1930. Oil on canvas, 5′ 4-1/4″ × 4′ 3″. Museum of Modern Art, New York.
Mrs. Simon Guggenheim Fund. (82.1950). © 2015. Digital image, Museum of Modern Art, New York/Scala, Florence. © 2015 Estate of Pablo Picasso/Artists Rights Society (ARS), New York. [Fig. 1-10]

Roles of the Artist
1 of 12

Artists make a visual record of the people, places, and events of their time and place.

The art of portraiture reflects a desire to record what the artist sees visually.
Mickalene Thomas paints portraits of contemporary African-American women in poses evoking odalisques, similar to Manet’s Olympia.

Mickalene Thomas, Portrait of Mnonja.
2010. Rhinestones, acrylic, and enamel on wood panel, 8 × 10′. Smithsonian American Art Museum, Washington, D.C.
Museum purchase through the Luisita L. and Franz H. Denghausen Endowment, 2011.16. © 2015. Digital image, Smithsonian American Art Museum, Washington, D.C./Scala, Florence. Courtesy of Mickalene Thomas and Lehmann Maupin, New York and Hong Kong. © 2015 Mickalene Thomas/Artists Rights Society (ARS), New York. [Fig. 1-14]

Édouard Manet, Olympia.
1863. Oil on canvas, 4′ 3″ × 6′ 2-3/4″. Musée d’Orsay, Paris.
Inv. RF644. Photo © RMN-Grand Palais (musée d’Orsay)/Hervé Lewandowski. [Fig. 1-15]

Roles of the Artist
2 of 12

Artists make a visual record of the people, places, and events of their time and place.

Portrait of Mnonja was sold to the Akron Art Museum and featured hundreds of rhinestones.
The anamorphic cat directly references the black cat opposite Olympia’s feet in Manet’s work.

Roles of the Artist
3 of 12

Artists make a visual record of the people, places, and events of their time and place.

Olympia was also reflective of its time, though Manet’s audience did not wish to acknowledge it as anything but appalling.

The Creative Process
1 of 2

From Sketch to Final Vision:
Pablo Picasso’s Les Demoiselles d’Avignon
An early sketch conceived five prostitutes and two men in the work.
By removing the male figures, he more fully engages the audience in the scene.
Picasso rejects any traditional notion of beauty in the women’s forms.

Pablo Picasso, Medical Student, Sailor, and Five Nudes in a Bordello (Compositional study for Les Demoiselles d’Avignon), Paris.
Early 1907. Black chalk and pastel over pencil on Ingres paper, 18-1/2 × 25″. Kupferstichkabinett, Kunstmuseum Basel, Switzerland.
Deposited at the Kupferstichkabinett of the Kunstmuseum Basel by the residents of the City of Basel, 1967.106. Photo: Kunstmuseum Basel/Martin Bühler. © 2015 Estate of Pablo Picasso/Artists Rights Society (ARS), New York. [Fig. 1-11]

The Creative Process
2 of 2

From Sketch to Final Vision:
Pablo Picasso’s Les Demoiselles d’Avignon
Originally, all figures looked like the middle two.
African masks inspired the new look of the emotionally-charged figures.
The impossible multiple points of view present the painting as an ambiguity of experience.

Pablo Picasso, Study for Les Demoiselles d’Avignon: Head of the Squatting Demoiselle. 1907. Gouache and Indian ink on paper, 24-3/4 × 18-7/8″. Musée Picasso, Paris.
Inv. MP 539. Photo © RMN-Grand Palais/Thierry Le Mage. © 2015 Estate of Pablo Picasso/Artists Rights Society (ARS), New York. [Fig. 1-12]

Pablo Picasso, Les Demoiselles d’Avignon.
1907. Oil on canvas. 8′ × 7′. Museum of Modern Art, New York.
Acquired through the Lillie P. Bliss Bequest, 333.1939. © 2015 Digital image, Museum of Modern Art, New York, New York/Scala, Florence. © 2015 Estate of Pablo Picasso/Artists Rights Society (ARS), New York. [Fig. 1-13]

Roles of the Artist
4 of 12

Artists help us see the world in new or innovative ways.

Cai Guo-Qiang’s work was designed to transform viewers’ experience of the world.
Prior to his work, Ken Gonzalez-Day researched the history of lynching in California, finding Native Americans, Chinese immigrants, and Latinos were lynched more than other groups.

Ken Gonzales-Day, “At daylight the miserable man was carried to an oak…,” from the series Searching for California Hang Trees.
2007. Chromogenic print, 35 × 45″. Smithsonian American Art Museum, Washington, D.C.
Museum purchase through the Luisita L. and Franz H. Denghausen Endowment, 2012.12.1. © 2015. Digital image, Smithsonian American Art Museum, Washington, D.C./Scala, Florence. © 2015 Ken Gonzales-Day. [Fig. 1-16]

Roles of the Artist
5 of 12

Artists help us see the world in new or innovative ways.

The photograph “At daylight…” transforms our view of an oak tree that is at once mossy, tangled, and majestic and the site of violent deaths.

Roles of the Artist
6 of 12

Artists make functional objects and structures (buildings) more pleasurable and elevate them or imbue them with meaning.

The sculpture of a film projector by Kane Kwei and his workshop functions as a coffin.
In Ghana, coffins celebrate a successful life with ritual significance.

Workshop of Kane Kwei, Coffin in the shape of a film projector, Teshi area, Ghana, Africa.
2013.
© LUC GNAGO/Reuters/Corbis. [Fig. 1-17]

Roles of the Artist
7 of 12

Artists make functional objects and structures (buildings) more pleasurable and elevate them or imbue them with meaning.

Public space features standards of aesthetic beauty.
Self-sufficiency, sustainable building materials, and suitability to climate and culture exemplify “green architecture.”

Roles of the Artist
8 of 12

Artists make functional objects and structures (buildings) more pleasurable and elevate them or imbue them with meaning.

The Jean-Marie Tjibaou Cultural Center, named for a leader of the Kanak people, features buildings of wood and bamboo.
Architect Renzo Piano utilized the nearby ocean breeze in a design that cooled the inner rooms of the pavilions.

Renzo Piano, Jean-Marie Tjibaou Cultural Center, Nouméa, New Caledonia.
1991–98.
© Giraud-Langevin/Sygma/Corbis. [Fig. 1-18]

Roles of the Artist
9 of 12

Artists give form to the immaterial—hidden or universal truths, spiritual forces, personal feelings.

Western approach to works from African, Oceanic, Asian, or Native American cultures often relegates everyday objects to “works of art.”
These objects may serve a utilitarian or sacred function, a context far removed from the Western lens.

Roles of the Artist
10 of 12

Artists give form to the immaterial—hidden or universal truths, spiritual forces, personal feelings.

The Nkisi nkonde from Kongo was used to pursue witches, thieves, and wrongdoers and activated by a communicator driving pieces of iron into the body of the figure.
These figures represented animism, but Europeans saw them as a threat.

Nkisi nkonde, Kongo (Muserongo), Zaire.
Late 19th century. Wood, iron nails, glass, resin, 20-1/4 × 11 × 8″. The University of Iowa Museum of Art.
Stanley Collection, X1986.573. Image courtesy of the University of Iowa Museum of Art [Fig. 1-19]

Roles of the Artist
11 of 12

Artists give form to the immaterial—hidden or universal truths, spiritual forces, personal feelings.

Figures of minkonde are still made today.
Tania Brugeuera dressed as an nkonde in a performance enacted in Havana and the Neuberger Museum of Art in NY.

Tania Bruguera, Displacement.
1998–99. Cuban earth, glue, wood, nails, textile, dimensions variable. Still from film of the original performance in Havana, Cuba, 1988, exhibited at the Neuberger Museum of Art, New York, January–April 2010.
Courtesy of Tania Bruguera studio. [Fig. 1-20]

Roles of the Artist
12 of 12

Artists give form to the immaterial—hidden or universal truths, spiritual forces, personal feelings.

Images of God were protested through Western history.
Jan van Eyck depicted a frail, young, merciful, and richly adorned God in his Ghent Altarpiece.

Jan van Eyck, The Ghent Altarpiece.
ca. 1432. Oil on panel, 11′ 5″ × 15′ 1″. Church of St. Bavo, Ghent, Belgium.
© 2015 Photo Scala, Florence. [Fig. 1-21]

Jan van Eyck, God, panel from The Ghent Altarpiece.
ca. 1432.
© 2015 Photo Scala, Florence. [Fig. 1-22]

Seeing the Value in Art
1 of 2

Francis Bacon’s Three Studies of Lucian Freud was the most expensive artwork ever sold in 2013.
This triptych was analogous to shooting the same scene from three different angles.
While interesting as a study, many people find it hard to like and are incredulous at its market value.

Francis Bacon, Three Studies of Lucian Freud.
1969. Oil on canvas, each canvas 6′ 6″. × 4′ 10″. Private collection.
Photo © Christie’s Images/Bridgeman Images. © 2015 Estate of Francis Bacon. All rights reserved./DACS, London/Artists Rights Society (ARS), New York. [Fig. 1-23]

Seeing the Value in Art
2 of 2

The art market depends on the participation of wealthy clients.
Major financial centers support the most prestigious art galleries, auction houses, and museums.
Collectors are motivated mostly by the pleasure of owning prestigious art.

Artistic Value and the “Culture Wars”
1 of 4

The value of art is not solely about money, but intrinsic value.
Robert Mapplethorpe
Mapplethorpe died a few months before the slated exhibition of his work in the Corcoran Gallery in Washington, D.C. in 1989.
His homoerotic, sadomasochistic, and underage subjects evoked ire.

Artistic Value and the “Culture Wars”
2 of 4

Robert Mapplethorpe
Because of its subject matter, the show was moved to a smaller gallery.
Later shows ran without incident until police seized photographs at a Cincinnati gallery, claiming criminal obscenity.
Testimony in the following trial focused on formal qualities of each work.

Artistic Value and the “Culture Wars”
3 of 4

Robert Mapplethorpe
Ajitto, for example, shows the human body with the geometry of a pentagon.
The jury eventually ruled that Mapplethorpe’s work possessed “serious artistic value” in the context of the tradition of arts confronting parts of our lives that give us pain as well as pleasure.

Robert Mapplethorpe, Ajitto.
1981. Gelatin silver print, 30 × 40″.
Used by permission of Art + Commerce. © Robert Mapplethorpe Foundation. [Fig. 1-24]

Artistic Value and the “Culture Wars”
4 of 4

Chris Ofili
The Holy Virgin Mary became a target for outrage especially for its inclusion of elephant dung in the depiction of a religious figure.
The Catholic League for Religious and Civil Rights encouraged people to picket the museum and mayor Rudolph Giuliani threatened to cut off the museum’s city subsidy.

The press surround Chris Ofili’s The Holy Virgin Mary at the Brooklyn Museum.
© Ruby Washington/New York Times/Redux/eyevine. [Fig. 1-25a]

Demonstration Against the ‘Sensation’ Art Exhibition outside the Brooklyn Museum, New York, America – 1999.
Sipa Press/REX. [Fig. 1-25b]

The Avant-Garde and Public Opinion
1 of 3

The public tends to receive innovative artwork with reservation because it has little context to be appreciated.
Marcel Duchamp’s Nude Descending a Staircase succeeded in scandalizing, and received parody and ridicule following its exhibition at the Armory Show in 1913.

Marcel Duchamp, Nude Descending a Staircase, No. 2.
1912. Oil on canvas, 4′ 10″ × 35″. Philadelphia Museum of Art.
Louise and Walter Arensberg Collection, 1950. © 2015. Photo: Graydon Wood, 1994, Philadelphia Museum of Art/Art Resource/Scala, Florence. © 2015 Succession Marcel Duchamp/ADAGP, Paris/Artists Rights Society (ARS), New York. [Fig. 1-26]

The Avant-Garde and Public Opinion
2 of 3

Duchamp studied and represented Marey’s Movement as well as studies of animals and humans in motion by Eadweard Muybridge.
The National Endowment for the Arts (NEA) endeavored to teach the public how to see and appreciate “advanced art.”

The Avant-Garde and Public Opinion
3 of 3

Richard Serra’s Tilted Arc was installed with minimal negative reaction in 1981, but faced removal in March 1985.
In March of 1989, it was stolen in the middle of the night, dismantled and subsequently destroyed.
The site-specific work lost its meaning when it was removed

Richard Serra, Tilted Arc.
Cor-Ten steel, 12′ × 120′ × 2-1/2″. Installed, Federal Plaza, New York City. Destroyed by the U.S. government March 15, 1989.
© 2015 Richard Serra/Artists Rights Society (ARS), New York. [Fig. 1-27]

Political Visions

If art appears to promote a specific political or social agenda, it is bound to face public disagreement.
Michelangelo’s David was designed to be displayed atop the Piazza della Signoria, signifying Florence’s freedom from foreign, papal, and Medici domination.
Citizens also objected to its nudity.

Michelangelo, David.
1501–04. Copy of the original as it stands in the Piazza della Signoria, Florence. Original in the Galleria dell’Accademia, Florence. Marble, Height 13′ 5″.
© Bill Ross/CORBIS. [Fig. 1-28]

The Critical Process
Thinking about Making and Seeing
Works of Art

Andy Warhol’s Race Riot depicts events of May 1963 when Bull Connor employed attack dogs and fire hoses to disperse civil rights demonstrators led by Rev. Martin Luther King, Jr.
Which of the artist’s roles was the most important for creating this work?

Thinking Back

Differentiate between passive and active seeing.

Define the creative process and describe the roles that artists most often assume when they engage in that process.

Discuss the different ways in which people value, or do not value, works of art.

Eyewitness Testimony

November 25, 2022/in Uncategorized /by SK

Using the GCU library, search for two peer-reviewed journal articles on eyewitness testimony using the search term “memory and eyewitness testimony.” Read the articles, then in 750-1,000 words, do the following:

Briefly summarize the findings from each article.
Based upon the information read, discuss if eyewitness testimony is reliable or unreliable.

Connect your research to a memory theory discussed in Chapter 7 of your textbook.

When writing in APA style, it is important that your analysis is written in third person. Writing in third person, using support from the article to support your position, helps with clarity and conciseness throughout your paper.

Prepare this assignment according to the guidelines found in the APA Style Guide, located in the Student Success Center. An abstract is not required.

This assignment uses a rubric. Please review the rubric prior to beginning the assignment to become familiar with the expectations for successful completion.

Rubic_Print_Format

Course Code	Class Code	Assignment Title	Total Points
PSY-102	PSY-102-O501	Eyewitness Testimony	130.0
Criteria	Percentage	Unsatisfactory (0.00%)	Less than Satisfactory (65.00%)	Satisfactory (75.00%)	Good (85.00%)	Excellent (100.00%)	Comments	Points Earned
Content	80.0%
Briefly summarize the findings from each article	40.0%	Essay omits or incompletely summarizes the findings for each article.Essay does not demonstrate understanding of the topic.	Essay inadequately summarizes the findings for each article. Summary is vague and demonstrates a poor understanding of the topic.	Essay adequately summarizes the findings for each article, but summary is limited and demonstrates a basic understanding of the topic.	Essay clearly summarizes the findings for each article and makes connections to some research with sound analysis. Demonstrates an understanding that extends beyond the surface of the topic.	Essay expertly summarizes the findings for each article comprehensively and insightfully, making current research connections. Demonstrates exceptional understanding of the topic.
Discuss if eyewitness testimony is reliable or unreliable	40.0%	Essay omits or incompletely discusses if eyewitness testimony is reliable or unreliable.Does not demonstrate understanding of the topic.	Essay inadequately discusses if eyewitness testimony is reliable or unreliable. Vague and inconsistent discussion.Demonstrates a poor understanding of topic.	Essay adequately discusses if eyewitness testimony is reliable or unreliable, but discussion is limited.Demonstrates a basic understanding of the topic.	Essay clearly discusses if eyewitness testimony is reliable or unreliable and makes connections to some research with strong analysis.Demonstrates an understanding that extends beyond the surface of the topic.	Essay expertly discusses if eyewitness testimony is reliable or unreliable and makes connections to current research comprehensively and insightfully.Demonstrates exceptional understanding of the topic.
Organization and Effectiveness	17.0%
Thesis Development and Purpose	6.0%	Paper lacks any discernible overall purpose or organizing claim.	Thesis is insufficiently developed or vague. Purpose is not clear.	Thesis is apparent and appropriate to purpose.	Thesis is clear and forecasts the development of the paper. Thesis is descriptive and reflective of the arguments and appropriate to the purpose.	Thesis is comprehensive and contains the essence of the paper. Thesis statement makes the purpose of the paper clear.
Paragraph Development and Transitions	6.0%	Paragraphs and transitions consistently lack unity and coherence. No apparent connections between paragraphs are established. Transitions are inappropriate to purpose and scope. Organization is disjointed.	Some paragraphs and transitions may lack logical progression of ideas, unity, coherence, or cohesiveness. Some degree of organization is evident.	Paragraphs are generally competent, but ideas may show some inconsistency in organization or in their relationship to each other.	A logical progression of ideas between paragraphs is apparent. Paragraphs exhibit a unity, coherence, and cohesiveness. Topic sentences and concluding remarks are appropriate to purpose.	There is a sophisticated construction of paragraphs and transitions. Ideas progress and relate to each other. Paragraph and transition construction guide the reader. Paragraph structure is seamless.
Mechanics of Writing (includes spelling, punctuation, grammar, language use)	5.0%	Surface errors are pervasive enough that they impede communication of meaning. Inappropriate word choice or sentence construction is used.	Frequent and repetitive mechanical errors distract the reader. Inconsistencies in language choice (register) or word choice are present. Sentence structure is correct but not varied.	Some mechanical errors or typos are present, but they are not overly distracting to the reader. Correct and varied sentence structure and audience-appropriate language are employed.	Prose is largely free of mechanical errors, although a few may be present. The writer uses a variety of effective sentence structures and figures of speech.	Writer is clearly in command of standard, written, academic English.
Format	3.0%
Paper Format (use of appropriate style for the major and assignment)	1.0%	Appropriate template is not used appropriately or documentation format is rarely followed correctly.	Appropriate template is used, but some elements are missing or mistaken; lack of control with formatting is apparent.	Appropriate template is used, and formatting is correct, although some minor errors may be present.	Appropriate template is fully used; There are virtually no errors in formatting style.	All format elements are correct.
Documentation of Sources (citations, footnotes, references, bibliography, etc., as appropriate to assignment and style)	2.0%	Sources are not documented.	Documentation of sources is inconsistent or incorrect, as appropriate to assignment and style, with numerous formatting errors.	Sources are documented, as appropriate to assignment and style, although some formatting errors may be present.	Sources are documented, as appropriate to assignment and style, and format is mostly correct.	Sources are completely and correctly documented, as appropriate to assignment and style, and format is free of error.
Total Weightage	100%

First Draft of a Commentary Assignment

November 25, 2022/in Uncategorized /by SK

ENG-105: Topic 6

First Draft of a Commentary Assignment

For this assignment, write a 750-1,000-word commentary that addresses a trend/topic related to ADHD.

This means that your essay should review a single trend related to ADHD. For instance, you could analyze one of the following trends (you are not limited to this list; these are suggestions):

· Increase in ADHD Diagnoses

· Impact of ADHD on a Child’s Schooling

· Impact of New ADHD Treatments

· Hidden Dangers of ADHD Medications

· The Reasoning Behind ADHD Awareness Week

· ADHD and the Zombie Phenomenon

· ADHD Drug Overdoses

This essay is NOT a summary of several different elements of ADHD. Rather, it is an analysis of a single trend related to ADHD, including various elements of that single trend.

Your review should include at least five scholarly sources outside of class texts.

Directions

1. Label or Identify the Subject: Provide the name for the trend and provide some context or background for the subject.

2. Explain the Subject: Find a pattern of meaning in the trend (e.g., speculate as to causes and effects of an event, compare with a similar case, or offer an example).

3. Make a Judgment/Offer an Opinion: Evaluate the trend using third person; offer praise or critique the trend, offering evidence to support your claims.

First Draft Grading

You will receive completion points for the first draft based upon the successful submission of your draft. Since instructor feedback for this draft is optional, you will need to consider feedback from peers and your self-review. You may also use the Center for Learning Advancement (CLA) and ThinkingStorm online tutoring services available at the following link for additional feedback: http://www.gcu.edu/Learning-Resources/Center-for-Learning-and-Advancement.php

The final draft of this assignment uses a grading rubric. Instructors will be using the rubric to grade the assignment; therefore, students should review the rubric prior to beginning the assignment to become familiar with the assignment criteria and expectations for successful completion of the assignment.

Because your first draft is a completion grade, do not assume that this grade reflects or predicts the final grade.

Final Draft Grading

The final essay will be graded using a rubric. Please review the rubric prior to beginning the assignment to become familiar with the assignment criteria and expectations.

Sources

· Include in-text citations and a References page in GCU Style for at least FIVE scholarly sources outside of class texts.

· These sources should be used to support any claims you make.

· Use the GCU Library to help you find sources.

· Include this research in the paper in a scholarly manner.

Format

Prepare this assignment according to the guidelines found in the GCU Style Guide, located in the Student Success Center.

LopesWrite

· You are required to submit this assignment to LopesWrite. Refer to the LopesWrite Technical Support articles for assistance.

· Please be sure to review your LopesWrite score before submitting the draft to your instructor.

Submit this assignment to your instructor in the assignment drop box AND post this draft as an attachment in the Topic 6 Commentary Peer Review Forum by Day 3 of Week 6.

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