"Tea is drunk to forget the din of the world." ~T'ien Yiheng
Thursday, April 30, 2009
Why use blogs in the classroom?
Throughout the course of this semester, we have incorporated the use of blogs into our course work. This is the first time I have ever done anything like this. Now that I have done this myself and have had time to reflect on how blogs are used, I like the ideas of using blogs very much. I have found that there are many possible instructional uses for blogs in the classroom. For example, many teachers require students to hand in hard copies of journal entries. This creates a lot of loose paper a teacher must keep track of. Instead of using this traditional method, blog entries could function the same way without the hassle, plus they would be posted online for future reference. Blogs also show the date and time of which they are posted, therefore the teacher would be able to tell if the assignment was completed on time. Another example would be for students to present certain assignments as a blog. In this way students can change the colors, design, and publish their work. Students are allotted more options for aesthetic presentation and are able to publish their work on the Internet. Blogs provide many advantages over traditional forms. However, before teachers decide to use blogs, or any other types of media in the classroom, they must be sure all students have equal access to computers and the internet. They must not assume all students have equal computer knowledge. In addition, teachers must have the right motives for using blogs. They should not use blogs because they are the latest fad, or to cut corners in instruction, or because using blogs is something the teacher enjoys. Blogs should be used because it is one way to bring out the best in students’ writing.
Overall, I think the use of blogs in the classroom has proven to be a key tool in integrating technology and improving aspects for both students and teachers.
Overall, I think the use of blogs in the classroom has proven to be a key tool in integrating technology and improving aspects for both students and teachers.
Tuesday, April 28, 2009
La Bella Figura
In Italy, the philosophy of La Bella Figura rules the land, especially in the south. Bella Figura means “the beautiful figure” but is actually a way of life emphasizing beauty, good image, aesthetics and proper behavior.
But La Bella Figura is more than merely dressing well, looking good and admiring fine art. It is an etiquette system as well. La Bella Figura also means acting properly, knowing the rules of etiquette, presenting oneself with, and being aware of, the proper nuances Italian society demands. It is how to act and how to behave under particular circumstances. It is knowing what is appropriate and when, it is knowing what is of high quality and taste versus what is too cheap.
La Bella Figura is also loyalty. Italians have a strong sense of loyalty to their family, friends, neighbors and business partners. Behaving properly, appropriately and respectfully is crucial to maintaining the right air of Bella Figura both in family situations as well as in the business world.
La Bella Figura is both a demureness and formality and is thoroughly entrenched in the culture of Italy, especially in the southern portion of the country. It is believed that practicing La Bella Figura enhances beauty and peace in the world.
Friday, April 24, 2009
So you think you can type?
Friday, April 17, 2009
What are three things very few people know about you?
Here's my list....
1. I love to paint. I have sold some paintings for amounts that were more than my yearly salary as a teacher.
2. I can play the piano, the accordion, and the xylophone.
3. I once owned a restaurant.
Now........... your turn!
Thursday, April 16, 2009
Wednesday, April 15, 2009
Where will our writers come from?
In order to close the achievement gap for socioeconomically disadvantaged and culturally
diverse students, we must know the statistics.
• Of every 100 Asian kindergartners, 94 will graduate from high school, 80 will complete
some college, and 49 will obtain at least a bachelor’s degree.
• Of every 100 Black kindergartners, 87 will graduate from high school, 54 will complete
at least some college, and 16 will earn a bachelor’s degree.
• Of every 100 Latino kindergartners, 62 will graduate from high school, 29 will complete
some college, and 6 will obtain a bachelor’s degree.
• Of every 100 white kindergartners, 91 will graduate from high school, 62 will complete
at least some college, and 30 will obtain at least a bachelor’s degree.
Three major factors are listed that will improve the educational opportunities for students.
They are caring relationships, high expectations, and opportunities for participation and
contribution. Within these factors, students need access to challenging curriculum and
instruction, high quality teachers, and extra supports.
Williams, Belinda. Closing the Achievement Gap, ASCD 2003
diverse students, we must know the statistics.
• Of every 100 Asian kindergartners, 94 will graduate from high school, 80 will complete
some college, and 49 will obtain at least a bachelor’s degree.
• Of every 100 Black kindergartners, 87 will graduate from high school, 54 will complete
at least some college, and 16 will earn a bachelor’s degree.
• Of every 100 Latino kindergartners, 62 will graduate from high school, 29 will complete
some college, and 6 will obtain a bachelor’s degree.
• Of every 100 white kindergartners, 91 will graduate from high school, 62 will complete
at least some college, and 30 will obtain at least a bachelor’s degree.
Three major factors are listed that will improve the educational opportunities for students.
They are caring relationships, high expectations, and opportunities for participation and
contribution. Within these factors, students need access to challenging curriculum and
instruction, high quality teachers, and extra supports.
Williams, Belinda. Closing the Achievement Gap, ASCD 2003
Saturday, April 11, 2009
Thinking of all the work I need to do!
The Hindu Bhagavad Gita says "what is work and what is not work are questions which perplex the wisest of men." Music great Bob Geldof stated "the purpose of life must be more than going to work, coming home, and going back. I don't believe the rich man, poor man dignity of labor. There is no more dignity in labor than in not working. I never felt ashamed to be out of work. I just felt broke." Booker T. Washington said "no race can prosper until it learns there is as much dignity tilling a field as in writing a poem." Jerome K. Jerome states "it's impossible to enjoy idling thoroughly unless one has plenty of work to do." Finally, Henry W. Becker writes "work is not the curse but drudgery is."
As I write this I have to remind myself that work, for me, has always been ever changing. Change is good. It creates discomfort but is part of direction.
As I write this I have to remind myself that work, for me, has always been ever changing. Change is good. It creates discomfort but is part of direction.
New film
Audrey Tautou's New Film
I think all the world fell in love with Audrey Tautou when the film Fabuleux destin d'Amelie Poulain, Le (or Amelie as it is better known) arrived in 2001. Not only was her character cute and adorable the film was wonderfully written and directed and beautifully photographed. It's on my list of favorite films
Audrey has a new film due out in April, Coco Avant Chanel, I'm hoping to see but doubt I'll get to until the DVD is released. Until then I'l just watch the trailer over and over.
Here's the link for a preview http://www.youtube.com/watch?v=UEtwpSVSBKM&eurl=
Review of Fabuleux destin d'Amelie Poulain,
At first glance it would seem that “Amelie” has been made before. Perhaps in “Pollyanna” or in any novel-turned movie by Jane Austen, or even Flora in ”Cold Comfort Farm”, might be considered a forerunner to the character in “Amelie”. But, “Amelie” is different. It is a French film and teaches values other similar films lack. This film has that certain “ je ne sais quoi”---that particular way of showing French aesthetics in the manner that only the French can do. This film shows in an exceptional fashion a French woman taking time to understand who she is and to develop her own personal style and sense of mystic and whimsy with a cleverness and charm that is pure “la Parisienne”.
The popularity of “Amelie” speaks directly to the fascination American women tend to have with all things French. The word “French” being a superlative with anything that is elegant and refined and that has a well-deserved reputation of quality. There are lessons in “Amelie” that American women should take to heart.
At the beginning of the film the narrator makes a point of mentioning that Amelie becomes an observer of life. She learns to see things that other don’t see. Amelie sees so many things one really needs to watch the movie many times to see all the things she sees. She likes to eat berries off her fingers and coax music from wine glass rims. She experiences life through her senses. She catches small details in life. She sees the pain in others because she herself is wrapped in it.
Yet, she doesn’t seem unduly unhappy in her solitude she has accepted its inevitability. She learns tragedy can bring change, sometimes change for the better. Amelie rises above her calamities like a nice soufflé. She doesn’t remain childish, but child-like which she develops into spunk and spirit.
As an adult, Amelie does not hold a grudge against her father. She visits him every week and encourages him to grow—to travel. She doesn’t lecture him, or fight with him or try to appeal to his logic in typical American manner. She makes arrangements for his alter-ego, his gnome, to travel in his stead; thus allowing her father to see what he is missing.
In the event that changes Amelie life (the death of Lady Di and the finding of a childhood box), it would be easy to miss an important aspect. There is Amelie is perfectly fitted lingerie—a beautiful white full slip applying perfume. Amelie is probably more Monoprix, than Faubourg St. Honore, yet, like a true Parisienne she is attentive to detail, to look good and smell good, even if one is alone.
It is interesting to note, that Amelie never wears slacks or shorts. Her quirky off beat fashion sense, which is not quite vintage or retro, is timeless. When she goes to work her hair is neat and her look is polished.
Throughout the film, inwardly, Amelie is troubled but outwardly she is all poise. When she sits with Monsieur Dufayel (who cleverly helps Amelie take a reflective look at herself through the Renoir painting) her posture is straight and steady. She is not nervous personality. She is unique and she sees herself as such.
Amelie is typically French is her shopping habits. There is not a giant refrigerator in her neat and tidy tiny apartment. She shops daily, buying only what is needed. Being in the kitchen is creative and refreshing to her. She loves the feel of beans, and to crack the crust of the crème brulee and she carefully grates cheese over her hot pasta as she sits down to eat with a lovely place setting. She bakes bread and grows herbs on the window sill.
There have been comparisons of Audrey Tautou to the other famous Audrey—Audrey Hepburn. The comparison is rightly deserved. The Audrey of the 1950’s had the great sense not to follow the dictates of her era, but to follow she own gamine style. She didn’t fall into sex symbol hype and try to become something she wasn’t. Fifty years later when the 1950’s and elegance are spoken in the same sentence, no one says Marilyn or Jayne, but simple doe-eyed Audrey.
In the United States “Le Fabuleux Destin D’Amelie Poulain” is retitled either “Amelie” or “Amelie from Montmartre”. The Parisian backdrop is essential to this film because this isn’t the Paris of American travel brochures. The Paris of this film takes The City of Lights to a virtuoso level both literally and figuratively to the high hill of Montmartre. This bohemian section of Paris, which is home to both La Basilique du Sacre -Coeur and La Pigalle, provides its twisted streets for all the twists in “Amelie”. Montmartre is the only character in this film to appear as itself.
Perhaps the best advice to an American women watching this film is not watch it as a movie, but to view it like the colors in an impressionistic painting, a canvas that unleashes joy and style. For what do Parisians see when they look out the window? Not the Eiffel Tower, as American advertisements show, but each other.
I think all the world fell in love with Audrey Tautou when the film Fabuleux destin d'Amelie Poulain, Le (or Amelie as it is better known) arrived in 2001. Not only was her character cute and adorable the film was wonderfully written and directed and beautifully photographed. It's on my list of favorite films
Audrey has a new film due out in April, Coco Avant Chanel, I'm hoping to see but doubt I'll get to until the DVD is released. Until then I'l just watch the trailer over and over.
Here's the link for a preview http://www.youtube.com/watch?v=UEtwpSVSBKM&eurl=
Review of Fabuleux destin d'Amelie Poulain,
At first glance it would seem that “Amelie” has been made before. Perhaps in “Pollyanna” or in any novel-turned movie by Jane Austen, or even Flora in ”Cold Comfort Farm”, might be considered a forerunner to the character in “Amelie”. But, “Amelie” is different. It is a French film and teaches values other similar films lack. This film has that certain “ je ne sais quoi”---that particular way of showing French aesthetics in the manner that only the French can do. This film shows in an exceptional fashion a French woman taking time to understand who she is and to develop her own personal style and sense of mystic and whimsy with a cleverness and charm that is pure “la Parisienne”.
The popularity of “Amelie” speaks directly to the fascination American women tend to have with all things French. The word “French” being a superlative with anything that is elegant and refined and that has a well-deserved reputation of quality. There are lessons in “Amelie” that American women should take to heart.
At the beginning of the film the narrator makes a point of mentioning that Amelie becomes an observer of life. She learns to see things that other don’t see. Amelie sees so many things one really needs to watch the movie many times to see all the things she sees. She likes to eat berries off her fingers and coax music from wine glass rims. She experiences life through her senses. She catches small details in life. She sees the pain in others because she herself is wrapped in it.
Yet, she doesn’t seem unduly unhappy in her solitude she has accepted its inevitability. She learns tragedy can bring change, sometimes change for the better. Amelie rises above her calamities like a nice soufflé. She doesn’t remain childish, but child-like which she develops into spunk and spirit.
As an adult, Amelie does not hold a grudge against her father. She visits him every week and encourages him to grow—to travel. She doesn’t lecture him, or fight with him or try to appeal to his logic in typical American manner. She makes arrangements for his alter-ego, his gnome, to travel in his stead; thus allowing her father to see what he is missing.
In the event that changes Amelie life (the death of Lady Di and the finding of a childhood box), it would be easy to miss an important aspect. There is Amelie is perfectly fitted lingerie—a beautiful white full slip applying perfume. Amelie is probably more Monoprix, than Faubourg St. Honore, yet, like a true Parisienne she is attentive to detail, to look good and smell good, even if one is alone.
It is interesting to note, that Amelie never wears slacks or shorts. Her quirky off beat fashion sense, which is not quite vintage or retro, is timeless. When she goes to work her hair is neat and her look is polished.
Throughout the film, inwardly, Amelie is troubled but outwardly she is all poise. When she sits with Monsieur Dufayel (who cleverly helps Amelie take a reflective look at herself through the Renoir painting) her posture is straight and steady. She is not nervous personality. She is unique and she sees herself as such.
Amelie is typically French is her shopping habits. There is not a giant refrigerator in her neat and tidy tiny apartment. She shops daily, buying only what is needed. Being in the kitchen is creative and refreshing to her. She loves the feel of beans, and to crack the crust of the crème brulee and she carefully grates cheese over her hot pasta as she sits down to eat with a lovely place setting. She bakes bread and grows herbs on the window sill.
There have been comparisons of Audrey Tautou to the other famous Audrey—Audrey Hepburn. The comparison is rightly deserved. The Audrey of the 1950’s had the great sense not to follow the dictates of her era, but to follow she own gamine style. She didn’t fall into sex symbol hype and try to become something she wasn’t. Fifty years later when the 1950’s and elegance are spoken in the same sentence, no one says Marilyn or Jayne, but simple doe-eyed Audrey.
In the United States “Le Fabuleux Destin D’Amelie Poulain” is retitled either “Amelie” or “Amelie from Montmartre”. The Parisian backdrop is essential to this film because this isn’t the Paris of American travel brochures. The Paris of this film takes The City of Lights to a virtuoso level both literally and figuratively to the high hill of Montmartre. This bohemian section of Paris, which is home to both La Basilique du Sacre -Coeur and La Pigalle, provides its twisted streets for all the twists in “Amelie”. Montmartre is the only character in this film to appear as itself.
Perhaps the best advice to an American women watching this film is not watch it as a movie, but to view it like the colors in an impressionistic painting, a canvas that unleashes joy and style. For what do Parisians see when they look out the window? Not the Eiffel Tower, as American advertisements show, but each other.
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