Saturday, August 31, 2019

Directing Hamlet Essay

If I were to have the pleasure of directing â€Å"Hamlet† I would first think about how and where the scene would be set. I would have the scene set in the suburbs of Italy where the ‘gangsters’ are, because the portrayal of gangster Italy, on television (which the audience may be familiar with) is like the situation in Hamlet. Where revenge must be taken by the son, also upholding the family honour and such family situations. Also the portrayal of Italians is that they are very religious and that they tend to be Catholics, so the religious aspect of this scene (trying to pray and having the need to be forgiven by god) would fit in with my version and Shakespeare’s. I would have this scene set in a Roman Catholic Church to support the fact that Claudius wishes to pray here and that he is Catholic. I would like the church to echo the voices to show that Claudius’ heart must be empty for him to have committed this evil crime, so all he hears is the voices of his head, telling him what he thinks is the right thing to do, for example to pray for forgiveness. However his heart would be telling him to give up the things that he killed for, which Claudius himself mentions, â€Å"since I am still possess’d of those effects for which I did the murder†. I would like the lighting to be an orangey afternoon colour, like when the sun sets. I imagine churches to be empty around early sunset time and if Claudius really felt guilty he would not want people o see that he is unable to pray I would not have any sound effects as the church would echo and I would like the audience to focus on what the actors were saying. Also silence between lines tends to create a sense of atmosphere. It would make the audience feel tense as though something was about to happen. I would like Claudius to look into the mirror when he is talking to himself throughout most of the scene. Except when it is inappropriate, for instance when he goes to pray. I would like the audience to feel more relaxed by this, as Claudius does not seem to be very emotionally at thins. I would like the audience to feel quite angry with Claudius. I would like them to feel this as they can see that he is not mentally disturbed by the goings on. However when Hamlet goes to talk to himself I would like to have him talking to the audience to show that although Hamlet said in an earlier scene that he would pretend to go mad, â€Å"How strange or odd some’er I bear myself-As perchance hereafter shall think meet to put an antic disposition on† all the frustration about getting revenge and his fathers murder may have actually driven him mad. I feel that having Hamlet talk to the audience shows this, as the other members of the play do not seem to be able to see the audience (King Claudius talking to himself in the mirror). I would like the audience to be shocked, by this and feel on edge as this scene is all about whether Hamlet will kill the king or not which is very tense. Since Claudius is a King in Shakespeare’s Hamlet I would like him to play someone of high importance, so I would have him being played as a gangster leader. The outfit I would like him to wear would be a grey Armani suit, a waistcoat, blue collared shirt, and patent leather shoes. I would like him to have square framed glasses and for him to wear lots of gold jewellery, but especially a gold signant ring to symbolise that he is the leader of a gang, which has resemblance to the fact that he is a king (monarchs wear a ring to show that they are married to their country). I would like Hamlet to be wearing rather informal clothes to show that he may have gone slightly mad. I would have him wearing a plain black shirt, which would be reasonably tight. I would then have him wearing a black Hawaiian shirt with a thatched pattern on it. I would also like him to be wearing dark blue jeans. The dark clothes would be symbolising that Hamlet is still in mourning for his father’s death. I would like Hamlet to be wearing a silver Saint Christopher around his neck, to show that Hamlet may need guidance for the revenge of his father’s death. I would like to keep the language the same as I feel that if the text were to be converted into modern language the impact of the rhythm and words would be lost. Such as when Claudius says, â€Å"It hath the primal eldest curse upon’t,† means â€Å"It’s like when the first murder happened in the bible†. These words do not have nearly as much effect as the original line. The original line provides some atmosphere. The word ‘curse’ suggests evil, as witches were thought in Shakespeare’s time to send curses. Also as people were more religious in Shakespeare’s time the fact that Claudius has committed the worst sin n the bible they may have been horrified by Claudius’ crime. This wouldn’t have as much effect on a modern day audience however I feel that the words too tend to portray that Claudius shows disgust towards himself. Some of the words in this scene are quite difficult to interpret so I would have to make some sort of gesture in order to make it more obvious what the two actors mean. I think that obvious hand or body gestures would make it more obvious. For example when Hamlet says, â€Å"Up, sword, and know thou a more horrid hent† I think that Hamlet should, lift his sword and then approach Claudius. This would make the true meaning of the sentence clearer. A few lines in this scene make it so enjoyable to watch, but it all depends on the actor’s interpretation and delivery of the line. When Claudius says, â€Å"O, my offence is rank† This line needs to be emphasised as it shows that Claudius may be feeling regret for what he did. So he could show this by shouting the line, which displays the anger that he may be feeling with himself. Also â€Å"a brothers murder† must be emphasised as this is the reason to Claudius guilt, and why he is so angry with himself. He could portray this to the audience by saying it slowly, and going into an audible whisper as if someone may hear. Claudius should also emphasise when he says, â€Å"Forgive me my foul murder!† as this shows that maybe he does truly repent and feel guilt. He could shout this line to the ceiling as if he were talking to god. When Claudius talks of the things he does not wish to give up, â€Å"My crown, mine own ambition, and my queen. † The should be said in a low husky tone, to show that Claudius although in this scene he may seem to be wanting forgiveness, he does not truly want it as he would give up these items that he killed his brother for. When Claudius is describing how in the criminal world he can ‘buy himself out of trouble’, â€Å"In the corrupted currents of this world†. This line and the following three lines should also be delivered in the same low husky tone to show that Claudius is still evil as to mix himself with criminals, who were also known as sinners in Shakespeare’s time. Also when Claudius talks to his knees, telling them to, â€Å"Bow stubborn knees† he should speak softly as though here were speaking to a child. This would emphasise the line and show that Claudius is encouraging himself to pray; just a children are encouraged when spoken to in a soft voice. The line he says, â€Å"All may be well† should also be softly as he trying to convince himself that everything will be all right. It is the final two lines that should be emphasised the most as this show the true irony of the whole scene. Hamlet decides not to kill Claudius, as he believes that Claudius is praying and would go straight to heaven. Here when Claudius says, â€Å"My words fly up, my thoughts remain below. Words without thought never to heaven go. † We learn that he was unable to pray anyway so Hamlet could have killed Claudius, only Hamlet did not know this. His line could be emphasised with pauses in between up and my, and in-between thought and never. When Hamlet says â€Å"And now I’ll do it†. I think here the actor should raise his sword above his head and increase the volume of his voice to a shout. Hamlet should then approach Claudius and let out a war like cry to emphasise this line. This I feel is effective as it emphasises this line and the silence that would follow would also emphasise the next line, â€Å"and so ‘a goes to heaven. † I think that those two lines are very important as they show that Hamlet is about to kill Claudius until he decides that he’ll wait. I also think that when Hamlet is talking about the death of his father, â€Å"‘A took my father grossly†, he should speak through his teeth, in a low tone. I feel that Hamlet would be feeling very angry, as he cannot yet revenge his father’s death. So I feel that that talking through his teeth would portray that anger to the audience. This also emphasises the line as the audience would listen to what he was saying as him talking through his teeth would be obvious to them. Hamlet, however should speak with joy when he talks about what kind if thing Claudius will be doing when Hamlet could kill him, â€Å"When he is drunk asleep, or in rage; Or in th’ incestuous pleasure of his bed; At game, a-swearing, or about some act†. I feel that Hamlet would be imagining Claudius being killed and going straight to hell, which would make him very happy. I then think that when Hamlet delivers this last line, â€Å"this physic but prolongs thy sickly days†. It must be emphasised as Hamlet would be feeling quite sad and angry that he has Claudius in very vulnerable position yet he feels that he cannot kill him, as that would not give him true revenge. I feel that sadness and anger can be portrayed by Hamlet having a pause between physic and but. Also the actor should speak in a low tone to get the audience’ attention as this line displays the irony as Claudius is unable to pray. This scene is only effective because the audience knows what happened in the previous scene. They know that Claudius has portrayed his true guilt to Hamlet, confirming Hamlet’s beliefs that Claudius killed his father. The way in which he did show his guilt, (When the players put on a play with a murder committed the same way that he killed his brother) would be more effective in Shakespeare’s time as then all people who committed murder were believed to go mad, and be affected by the site of their crime. When Claudius views his crime he horrified by himself and feels the need to be forgiven which explains his sudden desperate need to pray. I feel that this scene gives Hamlet its edge of tenseness. The rest of the play is an unwinding tale leaving the audience wondering right until the last scene, will Hamlet kill Claudius?

Friday, August 30, 2019

Ajanta and Ellora are the pride of Maharashtra

INTRO Ajanta and Ellora are the pride of Maharashtra. The rock-cut caves of both these sites are world famous and illustrate the degree of skill and artistry that Indian craftsmen had achieved several hundred years ago. Ajanta dates from 100 B. C. while Ellora is younger by some 600 years. The village of Ajanta is in the Sahyadri hills, about 99 kms. From Aurangabad; a few miles away in a mammoth horseshoe-formed rock, are 30 caves overlooking a gorge, `each forming a room in the hill and some with inner rooms.Al these have been carved out of solid rock with little more than a hammer and chisel and the faith and inspiration of Buddhism. Here, for the Buddhist monks, the artisans excavated Chaityas (chapels) for prayer and Viharas (monasteries) where they lived and taught. Many of the caves have the most exquisite detailed carvings on the walls, pillars and entrances as well as magnificent wall paintings. CONCLUSION In their range of time and treatments they provide a panorama of life in ancient India and are a source of all kinds of information†¦ air styles, ornaments, textiles, musical instruments, details of architecture, customs etc. It was from this collection of classical Indian art that a particular style was formed that traveled with Buddhism to many parts of the world. Similar paintings can be seen in Sigiriya in Sri Lanka, Bamiyan in Afghanistan, temples and shrines in Tibet, Nepal, China and Japan. Royal patronage made Ajanta possible. Professional artists carried out much of the work and each contributed his own individual skill and devotion to this monumental work.Visitors often ask how the artist who painted the detailed frescoes and chiseled out the intricate carvings, managed to work in the dark interiors of the caves. It has been noticed that the caves are illuminated by natural light for part of the day and it is presumed that metal mirrors or sheets of white cloth were used to reflect sunlight into the inner recesses. PG1 The Ajanta Caves (Aji ha leni; Marathi: ) in Aurangabad district of Maharashtra. The caves are located in the Indian state of Maharashtra, near Jalgaon, just outside the village of Ajin? ha (20 °31? 56? N 75 °44? 44? E).Caves are only about 59 kilometers from Jalgaon Railway station (on Delhi – Mumbai, Rail line of the Central railways, India); and 104 kilometers from Aurangabad (from Ellora Caves 100 Kilometers). They are cut into the volcanic lava of the Deccan in the forest ravines of the Sahyadri Hills and are set in beautiful sylvan surroundings. These magnificent caves containing carvings that depict the life of Buddha, and their carvings and sculptures are considered to be the beginning of classical Indian art. PG2 , India are 30 rock-cut cave monuments which date from the 2nd century BCE to the 600 CE.The caves include paintings and sculptures considered to be masterpieces of Buddhist religious art (which depict the Jataka tales) as well as frescos which are reminiscent of the Sigiriya paintings in Sri Lanka. The caves were built in two phases starting around 2nd century BCE, with the second group of caves built around 600 CE. It is a protected monument under the Archaeological Survey of India. The caves vary from 35ft to 110ft in height. The caves of Ajanta consist of Viharas or Monasteries and Chaitya Grihas or monument halls cut into the mountains in two phases. The monasteries are of various sizes the tallest being of 52ft.The monasteries were used by the Buddhist monks for meditating and studying Buddhist teachings. They are mostly square shaped and projects didactic, devotional, and ornamental paintings from Jataka Tales and life of Gautam Buddha, contemporary people, kings, slaves, flowers, plants, fruits, birds and beasts. There are also the figures of yakshas, kinneras (half human and half bird) gandharvas (divine musicians), apsaras (heavenly dancers) seen in several wall paintings and sculptures and also art and architecture of the 3rd AD Gupta Dynasty. The 1st, 2nd, 16th and 17th caves can be rated as the greatest artistic works.Pg 4&5,6 First period This is a Buddhist community, comprising five sanctuaries or Chaitya-grihas (caves 9, 10, 19, 26 and 29) and monastic complex sangharamas or viharas. A first group of caves was created in the 2nd century BC: the chaitya-grihas open into the rock wall by doorways surmounted by a horse-shoe shaped bay. The ground plan is a basilical one: piers separate the principal nave from the side aisles which join in the apsis to permit the ritual circumambulation behind the (commemorative monument). This rupestral architecture scrupulously reproduces the forms and elements visible in wooden constructions.According to Spink (2006), the first phase was the construction of sanctuaries (known as chaytia-grihas) built during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) in the canyons of the Waghora River. The caves 9, 10, 12 and 15A were constructed during this period. [5] Murals preserved from this time belong to the oldest monuments of painted art in India. [edit]Second period A second group of caves was created at a later date, the 5th and 6th centuries AD, during the Gupta and post-Gupta periods.These caves were excavated during the supremacy of the Vakatakas and Guptas. According to inscriptions, Varahadeva, the minister of the Vakataka king, Harishena (c. AD 475-500), dedicated Cave 16 to the Buddhist sangha while Cave 17 was the gift of the prince, a feudatory. An inscription records that the Buddha image in Cave 4 was the gift of some Abhayanandi who hailed from Mathura. Scholars disagree about the date of the Ajanta Caves' second period. For a time it was thought that the work was done over a long period from the fourth to the 7th century AD, but recently long-time researcher Walter M.Spink declared that most of the work took place over short time period, from 460 to 480 CE, during the reign o f Emperor Harishena of the Vakataka dynasty. Some 20 cave temples were simultaneously created, for the most part viharas: monasteries with a sanctuary in the structure's rear centre. According to Spink, the Ajanta Caves appear to have been abandoned shortly after the fall of Harishena c. 480 CE. Since then, these temples have been abandoned and gradually forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed. edit]Rediscovery by Europeans On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to one of the cave temples (Cave No. 10) deep within the tangled undergrowth. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other, larger, animals, Captain Smith scratched his name in on one of his name and the date, April 1819. Since he stood on a five foot high pile of rubble collect ed over the years, the inscription is well above the eye-level gaze of an adult.Shortly after this discovery, the Ajanta Caves became renowned for their exotic setting, impressive architecture, historic artwork, and long-forgotten history. Cave 1-pg 7 and 8 The first cave was built on the eastern end of the horse-shoe shaped scarp. According to Spink, it is one of the latest caves to have begun on site and brought to near-completion in the Vakataka phase. Although there is no epigraphic evidence, it has been proposed that the Vakataka Emperor Harishena may have been the benefactor of this better-preserved cave.A dominant reason for this is that Harisena was not involved initially in patronizing Ajanta. This cave has one of the most elaborate carvings on its facade with relief sculptures on entablature and ridges. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since per ished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends.The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors. Each wall of the hall inside is nearly 40 feet (12 m) long and 20 feet (6. 1 m) high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls.There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the ‘dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the ri ght walls. The walls are covered with paintings in a fair state of preservation. The scenes depicted are mostly didactic, devotional, and ornamental. Cave 2-pg 9,10 Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation. [edit]The facadeCave 2 has a porch quite different from Cave one. Even the facade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The size and ground plan have many things in common with the [edit]The porch The front porch consists of cells supported by pillared vestibules on both ends. The cells on the previously â€Å"wasted areas† were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beau ty.The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior. [edit]The hall The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. [edit]The paintingsPaintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. Cave 3and cave 4-pg 11 CAVE 3 This is an incomplete monastery (10. 08 X 8. 78 m) and only the preliminary excavation of pillared verandah exist. CAVE 4 This squarish monastery consists of a hall, sanctum sanctorum, pillared verandah and is datable to first half of sixth century A. D. This is the largest monastery at Ajanta measuring (35. 08 X 27. 65 m).The door frame is exquisitely sculpted flanking to the right is carved Bodhisattva as reliever of Eight Great Perils. The cave was once painted, traces of which can be noticed. The ceiling of the hall preserves a unique geological feature of a lava flow. Cave 5,6,7-PG12,13 CAVE 5 This monastery (10. 32 X 16. 8 m) is an unfinished one. However, the richly carved door frame, and female figures on makaras are important ones. CAVE 6 This is a double storeyed monastery (16. 85 X 18. 07 m) consisting of hall, sanctum sanctorum and a pillared hall in the lower storey and a hall with cells, subsidiary cells and sanctum sanctorum in the upper storey.Buddha in preaching attitude is housed in both the shrines. The depiction of Miracle of Sravasti and Temptation of Mara are the imp ortant paintings. Sculptural depiction of Buddha in various attitudes and postures can also be noticed here. CAVE 7 This monastery (15. 55 X 31. 25 m) consists of a sanctum sanctorum, an oblong open hall with two small porticos supported by heavy octagonal pillars and eight cells. Buddha in preaching attitude is housed inside the sanctum. Other sculptural panels include Miracle of Sravasti, seated Buddha under the protection of Nagamuchalinda, etc.CAVE8,9 PG 13,14,14. 5 CAVE 8 This is an unfinished monastery (15. 24 X 24. 64 m) at Ajanta, located at the lowest level and perhaps earliest among the monasteries. Major portion of the frontage has been swept away by a landslide. CAVE 9 This apsidal chaityagriha (18. 24 X 8. 04 m) is datable to second century B. C. and belongs to the Hinayana phase of Buddhism. The chaityagriha consists of an entrance door, two side windows, central hall, nave flanked by side aisles (pradikshana) on either side separated by a row of 23 pillars and a stupa , the object of worship.The chaityagriha exhibits reproduction of wooden architectural styles, in the form of inward tapering octagonal pillars, evidence of fixing wooden beams ; rafters, etc. The chaitya was in use during later period also as indicated by the sculptures of Buddha on the facade and side walls facing the court. Inside the chaitya is seen two layers of paintings, the earlier dating back to the second half of 1st century B. C. and the alter to 5th – 6th centuries A. D. Cave 9 – One of the earliest prayer hall caves, notable for its arched windows that let softly diffused sunlight in the cave.This Theravada cave also features a large stupa. CAVE 10 In April 1819, John Smith, a British Army Officer noticed the huge arch of this cave from the view point which ultimately led to the discovery of Ajanta Caves. This cave is the earliest chaityagriha at Ajanta. A Brahmi inscription on the facade dated to the 2nd century B. C. reads ‘Vasithiputa Katahadiâ₠¬â„¢. The cave (30. 5 X 12. 2 m) consists of a large central hall, nave flanked by two aisles (pradikshana) separated by a row of 39 octagonal pillars and a rock stupa at the apsidal end, the object of worship.The cave consists of two period of paintings, the earlier dated to 2nd century B. C and the later 4th – 6th century A. D. Two Jataka stories of this period have been identified, namely, the Sama (Shama) Jataka and the Chhaddanta Jataka. The later period paintings contain Buddha figures in various poses mainly over the pillars. Cave 10 – Theravada prayer hall, thought to be the oldest cave temple at Ajanta, dating to the 2nd century BC. CAVE 11,12,13,14-PG 15, CAVE 11 This monastery (19. 87 X 17. 35 m) datable to beginning of fifth century A. D. onsists of a hall with six cells and a long bench, a pillared verandah with four cells, a sanctum sanctorum. Buddha in preaching attitude is housed in the sanctum against an unfinished stupa. Few paintings that available h ere depicts Bodhisattvas, figures of Buddha, etc. CAVE 12 This Hinayana monastery consists of a hall (14. 9 X 17. 82 m) the front wall is completely collapsed sided by twelve cells arranged on three sides. An inscription on the back wall of the monastery records the gift of this cave by one merchant Ghanamadada and palaeographically datable to 2nd – 1st century B. C. erhaps slightly later than Cave 10. The cell frontage are decorated with chaitya window motifs above the door opening. CAVE 13 This is a small monastery and belongs to the first phase. It consists of an astylar hall with seven cells on three sides. The cells are provided with rock-cut beds. CAVE 14 This unfinished monastery (13. 43 X 19. 28 m) was excavated above Cave 13 at a higher level. It was originally planned on a large scale. The depiction of sala bhanjikas on the top corners of doorway is beautifully depicted. Cave 15,15a,16,17-pg 16,17,18 CAVE 15 The monastery (19. 62 X 15. 8 m) consists of an astylar ha ll with eight cells, an antechamber, sanctum sanctorum and a pillared verandah. The sculptural depictions include Buddha in various postures, seated Buddha on simhasana inside the sanctum sanctorum. The traces of paintings indicate that it was originally painted. CAVE 15A Smallest of all the excavations at Ajanta this cave consists of a small central astylar hall with one cell on three sides. The front wall had an inscription in shell characters (which is now lost). The hall is relieved with chaitya window pattern rising from vedica pattern. CAVE 16According to an inscription found here, the excavation of this cave was caused by Varahadeva, the minister of Vakataka king Harishena (circa A. D. 475-500). The cave (19. 5 X 22. 25 X 4. 6 m) which is a monastery consists of a central hall surrounded by 14 cells on three sides, vestibule and a sanctum for Buddha image. The important painted themes depicted are the conversion of Nanda; Miracle of Sravasti; Maya’s dream; and certain incidents from the life of Buddha. The Jataka stories depicted are Hasti, Maha-ummagga, Maha-sutasoma. Painted inscriptions can also be noted inside the caves. CAVE 17A Brahmi inscription found here records the excavation of this cave by a feudatory prince under Vakataka king Harishena. This monastery (34. 5 X 25. 63 m) consists of a spacious hall surrounded by 17 cells on three sides, a vestibule and a sanctum containing the image of Buddha. The cave houses some of the well preserved paintings of the Vakataka age that includes Vessantara Jataka (right of door), a huge and gigantic wheel representing the ‘Wheel of Life’; flying apsara (to left of door), subjugation of Nalagiri (a wild elephant) by Buddha at Rajagriha, Buddha preaching to a congregation.The Jatakas depicted here are Chhaddanta, Mahakapi (in two versions), Hasti, Hamsa, Vessantara, Maha-Sutasoma, Sarabha-miga, Machchha, Mati-posaka, Sama, Mahisa, Valahass, Sibi, Ruru and Nigrodhamiga. Cave 18,19,20,21-pg 19,20 CAVE 18 This consists of a rectangular excavation (3. 38 X 11. 66 m) leading into another cell. The hall has two pillars with moulded bases and octagonal shafts. CAVE 19 This chaityagriha (16. 05 X 7. 09 m) is datable to fifth century A. D. and could be the gandhakuti. The stupa is carved with a standing image of Buddha 7.This cave is known for it sculptural grandeur of the facade and particularly the two life size Yaksha images on either sides of the chaitya vatayana (arch). The hall has painted depictions of Buddha in various postures. CAVE 20 A pillar less monastery consists of hall (16. 2 X 17. 91 m) cells, sanctum sanctorum and a pillared verandah datable between A. D. 450 and 525. A Brahmi inscription in the verandah records the gift of the mandapa by one Upendra. Buddha in preaching attitude is housed in the sanctum. The sculpture of seven Buddhas accompanied by attendants is another important sculptural panel in this cave.CAVE 21 This monastery (28. 56 X 28. 03 m) cons ists of a hall with twelve pillars and twelve cells on three sides, sanctum sanctorum, pillared verandah (pillar’s restored now). Out of 12 cells four are with pillared porches. The sanctum house seated Buddha in preaching attitude. Trace of paintings are noticed which consist of a panel depicting Buddha preaching a congregation. Cave 22,23,24,25-pg 21 CAVE 22 This monastery (12. 72 X 11. 58 m) consists of an astylar hall four unfinished cells, sanctum sanctorum and a narrow verandah. Buddha seated in pralamba-padasana is carved on the back wall of the shrine.The sculptural depiction of Buddha in different forms, painted figures of Manushi-Buddhas with Maitreya can be noticed here. CAVE 23 This is an unfinished monastery (28. 32 X 22. 52 m) and consists of an astylar hall, sanctum sanctorum, antechamber ; side cells and a pillared verandah. The cave is known for the rich decoration of pillars and pilasters and the naga doorkeepers. CAVE 24 This is an incomplete monastery (29. 3 X 29. 3 m) and second largest excavation at Ajanta after Cave 4. The plan consists of a hall with pillared verandah and sanctum sanctorum.A chapel with pillared porch is excavated outside the verandah. The sanctum houses a seated Buddha in pralamba-padasana. CAVE 25 This monastery (11. 37 X 12. 24 m) consists of an astylar hall, pillared verandah and an enclosed courtyard and excavated at a higher level. Two cells are noted on the left end of the verandah and the hall has no cells. The hall is devoid of shrine. CAVE 26,27,28,29-PG 22/PG22,23 CAVE 26 This chaityagriha is quite similar to Cave 19, but of a larger dimension (25. 34 X 11. 52 m) and more elaborately and exquisitely provided with sculpted figures.An inscription (A. D. 450 – 525) found on the wall of the front verandah records the gift of this chaityagriha by a monk Buddhabhadra, a friend of Bhavviraja, a minister of the king of Asmaka (Vidarbha). The chaityagriha consists of a hall, side aisles (pradikshana) and a rock-cut stupa front by an image of Buddha. The facade, the inner pillars, the triforium (between pillars and roof arch), aisles side walls are extensively carved with images and decorative designs. However, the most striking and prominent image is that of Mahaparinirvana of Buddha on the right aisle wall nd the assault of Mara during Buddha’s penance adorns the same wall. CAVE 27 This cave could have been part of Cave 26 and it consists of two storeys, the upper one partially collapsed. The monastery consists of a hall with four cells, antechamber and sanctum sanctorum. Buddha in teaching attitude is housed inside the sanctum. CAVE 28 This is an unfinished monastery of which only the pillared verandah was excavated. CAVE 29 This is an unfinished chaityagriha (22. 8 X 12. 84 m) in its first stage of excavation and located at the highest level, located between Caves 20 and 21. Ending-pg 24 Ajanta and Ellora are the pride of Maharashtra INTRO Ajanta and Ellora are the pride of Maharashtra. The rock-cut caves of both these sites are world famous and illustrate the degree of skill and artistry that Indian craftsmen had achieved several hundred years ago. Ajanta dates from 100 B. C. while Ellora is younger by some 600 years. The village of Ajanta is in the Sahyadri hills, about 99 kms. From Aurangabad; a few miles away in a mammoth horseshoe-formed rock, are 30 caves overlooking a gorge, `each forming a room in the hill and some with inner rooms.Al these have been carved out of solid rock with little more than a hammer and chisel and the faith and inspiration of Buddhism. Here, for the Buddhist monks, the artisans excavated Chaityas (chapels) for prayer and Viharas (monasteries) where they lived and taught. Many of the caves have the most exquisite detailed carvings on the walls, pillars and entrances as well as magnificent wall paintings. CONCLUSION In their range of time and treatments they provide a panorama of life in ancient India and are a source of all kinds of information†¦ air styles, ornaments, textiles, musical instruments, details of architecture, customs etc. It was from this collection of classical Indian art that a particular style was formed that traveled with Buddhism to many parts of the world. Similar paintings can be seen in Sigiriya in Sri Lanka, Bamiyan in Afghanistan, temples and shrines in Tibet, Nepal, China and Japan. Royal patronage made Ajanta possible. Professional artists carried out much of the work and each contributed his own individual skill and devotion to this monumental work.Visitors often ask how the artist who painted the detailed frescoes and chiseled out the intricate carvings, managed to work in the dark interiors of the caves. It has been noticed that the caves are illuminated by natural light for part of the day and it is presumed that metal mirrors or sheets of white cloth were used to reflect sunlight into the inner recesses. PG1 The Ajanta Caves (Aji ha leni; Marathi: ) in Aurangabad district of Maharashtra. The caves are located in the Indian state of Maharashtra, near Jalgaon, just outside the village of Ajin? ha (20 °31? 56? N 75 °44? 44? E).Caves are only about 59 kilometers from Jalgaon Railway station (on Delhi – Mumbai, Rail line of the Central railways, India); and 104 kilometers from Aurangabad (from Ellora Caves 100 Kilometers). They are cut into the volcanic lava of the Deccan in the forest ravines of the Sahyadri Hills and are set in beautiful sylvan surroundings. These magnificent caves containing carvings that depict the life of Buddha, and their carvings and sculptures are considered to be the beginning of classical Indian art. PG2 , India are 30 rock-cut cave monuments which date from the 2nd century BCE to the 600 CE.The caves include paintings and sculptures considered to be masterpieces of Buddhist religious art (which depict the Jataka tales) as well as frescos which are reminiscent of the Sigiriya paintings in Sri Lanka. The caves were built in two phases starting around 2nd century BCE, with the second group of caves built around 600 CE. It is a protected monument under the Archaeological Survey of India. The caves vary from 35ft to 110ft in height. The caves of Ajanta consist of Viharas or Monasteries and Chaitya Grihas or monument halls cut into the mountains in two phases. The monasteries are of various sizes the tallest being of 52ft.The monasteries were used by the Buddhist monks for meditating and studying Buddhist teachings. They are mostly square shaped and projects didactic, devotional, and ornamental paintings from Jataka Tales and life of Gautam Buddha, contemporary people, kings, slaves, flowers, plants, fruits, birds and beasts. There are also the figures of yakshas, kinneras (half human and half bird) gandharvas (divine musicians), apsaras (heavenly dancers) seen in several wall paintings and sculptures and also art and architecture of the 3rd AD Gupta Dynasty. The 1st, 2nd, 16th and 17th caves can be rated as the greatest artistic works.Pg 4&5,6 First period This is a Buddhist community, comprising five sanctuaries or Chaitya-grihas (caves 9, 10, 19, 26 and 29) and monastic complex sangharamas or viharas. A first group of caves was created in the 2nd century BC: the chaitya-grihas open into the rock wall by doorways surmounted by a horse-shoe shaped bay. The ground plan is a basilical one: piers separate the principal nave from the side aisles which join in the apsis to permit the ritual circumambulation behind the (commemorative monument). This rupestral architecture scrupulously reproduces the forms and elements visible in wooden constructions.According to Spink (2006), the first phase was the construction of sanctuaries (known as chaytia-grihas) built during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) in the canyons of the Waghora River. The caves 9, 10, 12 and 15A were constructed during this period. [5] Murals preserved from this time belong to the oldest monuments of painted art in India. [edit]Second period A second group of caves was created at a later date, the 5th and 6th centuries AD, during the Gupta and post-Gupta periods.These caves were excavated during the supremacy of the Vakatakas and Guptas. According to inscriptions, Varahadeva, the minister of the Vakataka king, Harishena (c. AD 475-500), dedicated Cave 16 to the Buddhist sangha while Cave 17 was the gift of the prince, a feudatory. An inscription records that the Buddha image in Cave 4 was the gift of some Abhayanandi who hailed from Mathura. Scholars disagree about the date of the Ajanta Caves' second period. For a time it was thought that the work was done over a long period from the fourth to the 7th century AD, but recently long-time researcher Walter M.Spink declared that most of the work took place over short time period, from 460 to 480 CE, during the reign o f Emperor Harishena of the Vakataka dynasty. Some 20 cave temples were simultaneously created, for the most part viharas: monasteries with a sanctuary in the structure's rear centre. According to Spink, the Ajanta Caves appear to have been abandoned shortly after the fall of Harishena c. 480 CE. Since then, these temples have been abandoned and gradually forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed. edit]Rediscovery by Europeans On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to one of the cave temples (Cave No. 10) deep within the tangled undergrowth. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other, larger, animals, Captain Smith scratched his name in on one of his name and the date, April 1819. Since he stood on a five foot high pile of rubble collect ed over the years, the inscription is well above the eye-level gaze of an adult.Shortly after this discovery, the Ajanta Caves became renowned for their exotic setting, impressive architecture, historic artwork, and long-forgotten history. Cave 1-pg 7 and 8 The first cave was built on the eastern end of the horse-shoe shaped scarp. According to Spink, it is one of the latest caves to have begun on site and brought to near-completion in the Vakataka phase. Although there is no epigraphic evidence, it has been proposed that the Vakataka Emperor Harishena may have been the benefactor of this better-preserved cave.A dominant reason for this is that Harisena was not involved initially in patronizing Ajanta. This cave has one of the most elaborate carvings on its facade with relief sculptures on entablature and ridges. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since per ished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends.The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors. Each wall of the hall inside is nearly 40 feet (12 m) long and 20 feet (6. 1 m) high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls.There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the ‘dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the ri ght walls. The walls are covered with paintings in a fair state of preservation. The scenes depicted are mostly didactic, devotional, and ornamental. Cave 2-pg 9,10 Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation. [edit]The facadeCave 2 has a porch quite different from Cave one. Even the facade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The size and ground plan have many things in common with the [edit]The porch The front porch consists of cells supported by pillared vestibules on both ends. The cells on the previously â€Å"wasted areas† were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beau ty.The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior. [edit]The hall The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. [edit]The paintingsPaintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. Cave 3and cave 4-pg 11 CAVE 3 This is an incomplete monastery (10. 08 X 8. 78 m) and only the preliminary excavation of pillared verandah exist. CAVE 4 This squarish monastery consists of a hall, sanctum sanctorum, pillared verandah and is datable to first half of sixth century A. D. This is the largest monastery at Ajanta measuring (35. 08 X 27. 65 m).The door frame is exquisitely sculpted flanking to the right is carved Bodhisattva as reliever of Eight Great Perils. The cave was once painted, traces of which can be noticed. The ceiling of the hall preserves a unique geological feature of a lava flow. Cave 5,6,7-PG12,13 CAVE 5 This monastery (10. 32 X 16. 8 m) is an unfinished one. However, the richly carved door frame, and female figures on makaras are important ones. CAVE 6 This is a double storeyed monastery (16. 85 X 18. 07 m) consisting of hall, sanctum sanctorum and a pillared hall in the lower storey and a hall with cells, subsidiary cells and sanctum sanctorum in the upper storey.Buddha in preaching attitude is housed in both the shrines. The depiction of Miracle of Sravasti and Temptation of Mara are the imp ortant paintings. Sculptural depiction of Buddha in various attitudes and postures can also be noticed here. CAVE 7 This monastery (15. 55 X 31. 25 m) consists of a sanctum sanctorum, an oblong open hall with two small porticos supported by heavy octagonal pillars and eight cells. Buddha in preaching attitude is housed inside the sanctum. Other sculptural panels include Miracle of Sravasti, seated Buddha under the protection of Nagamuchalinda, etc.CAVE8,9 PG 13,14,14. 5 CAVE 8 This is an unfinished monastery (15. 24 X 24. 64 m) at Ajanta, located at the lowest level and perhaps earliest among the monasteries. Major portion of the frontage has been swept away by a landslide. CAVE 9 This apsidal chaityagriha (18. 24 X 8. 04 m) is datable to second century B. C. and belongs to the Hinayana phase of Buddhism. The chaityagriha consists of an entrance door, two side windows, central hall, nave flanked by side aisles (pradikshana) on either side separated by a row of 23 pillars and a stupa , the object of worship.The chaityagriha exhibits reproduction of wooden architectural styles, in the form of inward tapering octagonal pillars, evidence of fixing wooden beams ; rafters, etc. The chaitya was in use during later period also as indicated by the sculptures of Buddha on the facade and side walls facing the court. Inside the chaitya is seen two layers of paintings, the earlier dating back to the second half of 1st century B. C. and the alter to 5th – 6th centuries A. D. Cave 9 – One of the earliest prayer hall caves, notable for its arched windows that let softly diffused sunlight in the cave.This Theravada cave also features a large stupa. CAVE 10 In April 1819, John Smith, a British Army Officer noticed the huge arch of this cave from the view point which ultimately led to the discovery of Ajanta Caves. This cave is the earliest chaityagriha at Ajanta. A Brahmi inscription on the facade dated to the 2nd century B. C. reads ‘Vasithiputa Katahadiâ₠¬â„¢. The cave (30. 5 X 12. 2 m) consists of a large central hall, nave flanked by two aisles (pradikshana) separated by a row of 39 octagonal pillars and a rock stupa at the apsidal end, the object of worship.The cave consists of two period of paintings, the earlier dated to 2nd century B. C and the later 4th – 6th century A. D. Two Jataka stories of this period have been identified, namely, the Sama (Shama) Jataka and the Chhaddanta Jataka. The later period paintings contain Buddha figures in various poses mainly over the pillars. Cave 10 – Theravada prayer hall, thought to be the oldest cave temple at Ajanta, dating to the 2nd century BC. CAVE 11,12,13,14-PG 15, CAVE 11 This monastery (19. 87 X 17. 35 m) datable to beginning of fifth century A. D. onsists of a hall with six cells and a long bench, a pillared verandah with four cells, a sanctum sanctorum. Buddha in preaching attitude is housed in the sanctum against an unfinished stupa. Few paintings that available h ere depicts Bodhisattvas, figures of Buddha, etc. CAVE 12 This Hinayana monastery consists of a hall (14. 9 X 17. 82 m) the front wall is completely collapsed sided by twelve cells arranged on three sides. An inscription on the back wall of the monastery records the gift of this cave by one merchant Ghanamadada and palaeographically datable to 2nd – 1st century B. C. erhaps slightly later than Cave 10. The cell frontage are decorated with chaitya window motifs above the door opening. CAVE 13 This is a small monastery and belongs to the first phase. It consists of an astylar hall with seven cells on three sides. The cells are provided with rock-cut beds. CAVE 14 This unfinished monastery (13. 43 X 19. 28 m) was excavated above Cave 13 at a higher level. It was originally planned on a large scale. The depiction of sala bhanjikas on the top corners of doorway is beautifully depicted. Cave 15,15a,16,17-pg 16,17,18 CAVE 15 The monastery (19. 62 X 15. 8 m) consists of an astylar ha ll with eight cells, an antechamber, sanctum sanctorum and a pillared verandah. The sculptural depictions include Buddha in various postures, seated Buddha on simhasana inside the sanctum sanctorum. The traces of paintings indicate that it was originally painted. CAVE 15A Smallest of all the excavations at Ajanta this cave consists of a small central astylar hall with one cell on three sides. The front wall had an inscription in shell characters (which is now lost). The hall is relieved with chaitya window pattern rising from vedica pattern. CAVE 16According to an inscription found here, the excavation of this cave was caused by Varahadeva, the minister of Vakataka king Harishena (circa A. D. 475-500). The cave (19. 5 X 22. 25 X 4. 6 m) which is a monastery consists of a central hall surrounded by 14 cells on three sides, vestibule and a sanctum for Buddha image. The important painted themes depicted are the conversion of Nanda; Miracle of Sravasti; Maya’s dream; and certain incidents from the life of Buddha. The Jataka stories depicted are Hasti, Maha-ummagga, Maha-sutasoma. Painted inscriptions can also be noted inside the caves. CAVE 17A Brahmi inscription found here records the excavation of this cave by a feudatory prince under Vakataka king Harishena. This monastery (34. 5 X 25. 63 m) consists of a spacious hall surrounded by 17 cells on three sides, a vestibule and a sanctum containing the image of Buddha. The cave houses some of the well preserved paintings of the Vakataka age that includes Vessantara Jataka (right of door), a huge and gigantic wheel representing the ‘Wheel of Life’; flying apsara (to left of door), subjugation of Nalagiri (a wild elephant) by Buddha at Rajagriha, Buddha preaching to a congregation.The Jatakas depicted here are Chhaddanta, Mahakapi (in two versions), Hasti, Hamsa, Vessantara, Maha-Sutasoma, Sarabha-miga, Machchha, Mati-posaka, Sama, Mahisa, Valahass, Sibi, Ruru and Nigrodhamiga. Cave 18,19,20,21-pg 19,20 CAVE 18 This consists of a rectangular excavation (3. 38 X 11. 66 m) leading into another cell. The hall has two pillars with moulded bases and octagonal shafts. CAVE 19 This chaityagriha (16. 05 X 7. 09 m) is datable to fifth century A. D. and could be the gandhakuti. The stupa is carved with a standing image of Buddha 7.This cave is known for it sculptural grandeur of the facade and particularly the two life size Yaksha images on either sides of the chaitya vatayana (arch). The hall has painted depictions of Buddha in various postures. CAVE 20 A pillar less monastery consists of hall (16. 2 X 17. 91 m) cells, sanctum sanctorum and a pillared verandah datable between A. D. 450 and 525. A Brahmi inscription in the verandah records the gift of the mandapa by one Upendra. Buddha in preaching attitude is housed in the sanctum. The sculpture of seven Buddhas accompanied by attendants is another important sculptural panel in this cave.CAVE 21 This monastery (28. 56 X 28. 03 m) cons ists of a hall with twelve pillars and twelve cells on three sides, sanctum sanctorum, pillared verandah (pillar’s restored now). Out of 12 cells four are with pillared porches. The sanctum house seated Buddha in preaching attitude. Trace of paintings are noticed which consist of a panel depicting Buddha preaching a congregation. Cave 22,23,24,25-pg 21 CAVE 22 This monastery (12. 72 X 11. 58 m) consists of an astylar hall four unfinished cells, sanctum sanctorum and a narrow verandah. Buddha seated in pralamba-padasana is carved on the back wall of the shrine.The sculptural depiction of Buddha in different forms, painted figures of Manushi-Buddhas with Maitreya can be noticed here. CAVE 23 This is an unfinished monastery (28. 32 X 22. 52 m) and consists of an astylar hall, sanctum sanctorum, antechamber ; side cells and a pillared verandah. The cave is known for the rich decoration of pillars and pilasters and the naga doorkeepers. CAVE 24 This is an incomplete monastery (29. 3 X 29. 3 m) and second largest excavation at Ajanta after Cave 4. The plan consists of a hall with pillared verandah and sanctum sanctorum.A chapel with pillared porch is excavated outside the verandah. The sanctum houses a seated Buddha in pralamba-padasana. CAVE 25 This monastery (11. 37 X 12. 24 m) consists of an astylar hall, pillared verandah and an enclosed courtyard and excavated at a higher level. Two cells are noted on the left end of the verandah and the hall has no cells. The hall is devoid of shrine. CAVE 26,27,28,29-PG 22/PG22,23 CAVE 26 This chaityagriha is quite similar to Cave 19, but of a larger dimension (25. 34 X 11. 52 m) and more elaborately and exquisitely provided with sculpted figures.An inscription (A. D. 450 – 525) found on the wall of the front verandah records the gift of this chaityagriha by a monk Buddhabhadra, a friend of Bhavviraja, a minister of the king of Asmaka (Vidarbha). The chaityagriha consists of a hall, side aisles (pradikshana) and a rock-cut stupa front by an image of Buddha. The facade, the inner pillars, the triforium (between pillars and roof arch), aisles side walls are extensively carved with images and decorative designs. However, the most striking and prominent image is that of Mahaparinirvana of Buddha on the right aisle wall nd the assault of Mara during Buddha’s penance adorns the same wall. CAVE 27 This cave could have been part of Cave 26 and it consists of two storeys, the upper one partially collapsed. The monastery consists of a hall with four cells, antechamber and sanctum sanctorum. Buddha in teaching attitude is housed inside the sanctum. CAVE 28 This is an unfinished monastery of which only the pillared verandah was excavated. CAVE 29 This is an unfinished chaityagriha (22. 8 X 12. 84 m) in its first stage of excavation and located at the highest level, located between Caves 20 and 21. Ending-pg 24

US and California Compared

The United States Census is taken every ten years in order for the U. S. government to count exactly how many people live in the country to the best of its abilities. Aside from taking the population, the census asks many other questions, such as the age of the persons living in a given household, their race and ethnicity, the languages that are spoken at home, their educational attainment level, and household income. These questions, when answered by the entire population, provide the government a sense of the composition and the needs of its people. Without this information, public services such as education, hospitals, health care, and social security cannot be provided to all in need and therefore it is important data that deserves our careful examination. For my term paper, I have decided to compare the data of the state of California to the United States of America to discover how similar or different the sets of data may be. I would predict some of these data to be similar, such as age distribution, due to the fact that California is a relatively large state with a large enough population that it would serve as a pretty good sample of the entire nation. However, I would expect to see differences in factors such as race and ethnicity and the languages spoken at home, because California has a relatively larger Hispanic and Asian population than most other states in the US. Also, the income level of California will be slightly higher than the nation due to the existence of two large metropolitan cities in the state. The paper takes a careful look at the various socio-demographic variables that are taken by the United States Census in order to compare the state of California to the nation as a whole. The first obvious step in my analysis is to look at both populations counted by the 1990 United States census. The population of the United States is estimated to be 248,709,873 and California is estimated to be 29,760,021. This data is important to this paper because when making comparisons between the two geographic locations, I will use percentages taken from the actual data given in the census divided by the total populations. This way, the comparisons are scaled in relation to one another and it is easier to analyze and to make comparisons. The first demographic variable that I will examine is the age distribution between the two areas. The age distribution given by the population age pyramid (Graph 1) show that both are quite similar, with a pyramid-like shape starting from age 25 to 80+, with the large base of the pyramid beginning at age 25. From age 0 to 24, there is an overall tapering in from the base of the pyramid above as the ages decrease, indicating a fewer number of people aged 0 through 24. It means that the largest number of persons in both regions is between the ages of 25 and 34 in 1990. This implies that there were a larger number of births in the 1950s and 1960s than in the 1970s and 1980s. This phenomenon can be explained by the fact that the baby-boom children had reached reproductive stage in their lives and gave birth to many babies in the 50s and 60s. There is also relatively fewer people aged 45 to 80+. The upper narrow upper region of the graph, ages 65 and up, can be explained by the fact that the life expectancy in the United States is around 70 years old and it is natural to see a tapering off of the population at these ages. However, the age group from 45 to 64 is also quite narrow. This is most likely due to the fact that these are the people who fought in World War II. Looking at the graph, the only noticeable difference between the two regions is that California has a relatively fewer number of people aged 10 through 19. This could be due to many economic, social, and physical factors in the 1970s that affected California births, but not the entire nation. I would predict that since children of the baby-boomers (ages 25 to 34) have now reached reproductive stage, the census 2000 would show that the base of the graph would continue to grow a little bit wider, from babies being born in the 1990s. The second demographic variable I will focus on is the racial composition of California and the United States. Graph 2 shows the percentages of the total population, which fall under the five racial categories: 1. White 2. Black 3. American Indian, Eskimo, or Aleut 4. Asian or Pacific Islander and 5. Other. It is important to note that people of Hispanic origin are mainly categorized as either White or Other, depending on how each individual has chosen to categorize him or herself. The category, Other, also include people who are mixed, such as Mulatto, Creole, and Mestizo. The breakdown of the races are pretty similar, as can be seen by the graph with Whites being the overwhelming majority of the total population for both regions. However, it may be interesting to note that the origins of the people who make up the White category for the two regions may be quite different. For the United States, the composition of the people who make up the White category are mostly of European origin. The origin of people who make up the White category for California also include many people of European origin, but also many of Hispanic origin. This is due to the fact that California shares the border with Mexico and therefore would have a larger Mexican or Latino population. Also due to the large Mexican and Latino population, the Other category for California is almost 10% larger than for the United States. The lower Black population in California can be attributed to the fact that the majority of Blacks in this country are concentrated in the southern states of the US, such as Alabama, raising the composition for the nation, but not for California. Lastly, the Asian and Pacific Islander category is almost 8% higher in California because many Asians tend to be concentrated on the west coast of the US. The third socio-demographic variable I will examine is language spoken at home. The first thing to note on Graph 3 is that English is spoken in the majority of homes both in California and the United States. The population speaking languages other than English at home is higher in California due to the racial composition examined above. The higher Asian/Pacific Islander and Latino concentration has raised this California percentage to twice that of the US. Of these â€Å"other† languages, the existence of Spanish spoken in homes is more than 10 percent higher in California than in the rest of the nation. Subsequently, the English at home contingent will be smaller in percentage comparison for California. This type of data is extremely important to the government because it raises issues such as the appropriateness of ESL programs, bilingual education, and public services that must be provided to the public in many languages. Comparing two different regions such as California and the US may seem useless due to the similar data, but it is differences such as these that make the census crucial data that deserve our careful analysis. Educational Attainment is another variable I will analyze between the two regions. Graph 4 reveals that in the US, highschool graduates (including equivalency) make up the highest percentage of education attained. This is not surprising because formal education in the US is required for all children until the age of 14 through 18, depending on the state, and therefore it is expected that most children would finish high school. In California, people attending some college without obtaining a degree make up the highest percentage. This implies that California†s students have a tendency to pursue their education further than the national student. The higher percentage of Californian†s attending some college can be attributed to the proliferation of junior colleges in the state. The concern for California should lie in the fact that a higher percentage of children do not progress beyond the ninth grade than in the nation. This may be attributed to the large Spanish speaking population who are cushioned in schools by bilingual teachers during their elementary and secondary schooling years but are left to themselves in non-bilingual high schools to survive on their own and as a result, drop out. Finally, the comparison of household income between California and the US shows that income levels for both regions are concentrated under $60,000 per year (Graph 5). In analyzing these data, I have taken the income data from the census and divided that figure with the total number of households, not the population, so that a direct comparison between the income of each households would be possible. In general, Californians have higher income than the US as a whole. The 1990 Census shows that the median household income of California is $35,798. This figure is higher than the national median household income of $30,056. The data on the graph shows that the higher percentage of Californians earn incomes higher than $30,000. The higher income in California can be attributed to the two metropolitan areas of Los Angeles and San Francisco as mentioned earlier and additionally, to the recent boom of the computer and internet industry in Silicon Valley, which has increased the number of Californians earning higher wages. The different variables examined in this paper have revealed several demographic trends between California and the US as a whole. While the two regions share similar demographic profiles, several differences arise upon closer analysis of the data. Generally, California has a higher concentration of racial minorities. Thus, more families speak languages other than English at home. The data also shows that a higher percentage of Californians pursue degrees in higher education than the national percentage. Since college graduatess and advanced degree holders tend to earn higher wages, the data for household income is consistent with the previous observation as more Californians are in the higher income bracket. It can then be concluded that California is more racially diverse than most other states, and that Californians tend to do better economically than the rest of the nation. This type of analysis would not have been possible without the United States Census, which I believe is an important tool that allows researchers to do their own analysis with the hard data that it provides. The different conclusions I have drawn from this paper clearly indicate a need for different public programs that are specifically designed for each individual state because the United States is not made up of a homogeneous group of people, but is composed of an exremely diverse group of individuals.

Thursday, August 29, 2019

Economic Development Objectives Essay Example | Topics and Well Written Essays - 500 words

Economic Development Objectives - Essay Example Structural transformations include â€Å"diversion of economic production away from agriculture, increase in the scale of productive units, shifts in organization and in the status of labor, and shifts in the structure of consumption† (Lundberg 445). Advanced technology increases the potential of an economy recording high economic growth rates. This therefore means that technological improvements are necessary conditions and not sufficient conditions since economic development is much wider than just economic growth (Kuznets, 419). There is therefore need to factor in the structural changes associated with improved technology since the net change might be negative or zero after including the costs of structural changes to quantifying economic development. Structural shifts and developing countries As much as everyone in developing countries wants economic developments, they should be aware of Kuznets and that with structural shifts long-term end results could be detrimental to the welfare of their less developed economies.

Wednesday, August 28, 2019

The Effects of High Heat Index on Workplace Productivity and Employee Research Paper

The Effects of High Heat Index on Workplace Productivity and Employee Health - Research Paper Example This is coupled with minimal additions from urban development that comes through absorption of heat in concrete buildings. Scientists refer to this effect as the urban heat island effect. Increase in ambient temperature humanity to more heat especially during heat seasons. This is a direct cause of unhealthy working environments. It has profound effects to people who cannot afford protective devices (Bridger 2003). This also means that companies need to incur extra costs in installing cooling gadgets including air conditioners. Effects on the working environment influence the economic and health conditions of workers. The latter causes the former effect because the human body maintains a temperature of 37 degree Celsius. However, physical activities generate metabolic heat that the body transfers through homeostasis to the external environment. The body automatically carries homeostasis functions to avoid increasing the core body temperature. Various factors maintain the balance of heat in the body including humidity, air temperature, air movement, metabolic heat, radiant temperature, and clothing. Increasing physical activities in hot working environment increases the chances of increasing the core body temperature going above 38 degrees Celsius. Other risks in such circumstances include reduced physical working ability, reduced mental task ability, dehydration, and heat exhaustion. The human body looses four liters of fluid during daily usual operations. Lost fluids are replenished by drinking of water and eating liquid food. The case is different when the body is under different condition that include sweating, diarrhea, exercising, in a different climatic temperature, and when in a different altitude. The body requires high amount of fluid to sustain normal body temperature under such circumstances. The leading causes of loss of body fluid are sweating and exercise. When the body constantly sweats, the body efficiently cools. Organs of homeostasis

Tuesday, August 27, 2019

Requirements for the Corporate Computing Function Essay

Requirements for the Corporate Computing Function - Essay Example For instance, most companies today have a backlog of e-mails, instant messaging, web processing, voice call and other communication means to handle on a daily basis. In most cases, handling organization and management of information tend to pose a huge challenge to many. In spite of the challenges involved, it is an aspect that must be given serious attention. Data is part of a business today and the information obtained from data received is of great value in today’s business environment (Andersen,. 1995). In fact, most organizations depend on the availability and accuracy of the data to function. However, the technological advancements witnessed in the recent past have brought new hurdles in managing information that did not exist in the past before the emergence of computers and the internet. Whereas technology has increased efficiency, access, and integrity on ways of how to manage information, it can be tiresome. However, based on the competitive nature of the global econ omy, managers must ensure that data is received in a timely and accurate manner in order to be able to meet the information needs of management. The availability of accurate and timely data is important for the management since it keeps them informed and up to date with decisions (Andersen,. 1995). ... In the past, businesses used to rely on manual file management system, including cabinets and notebooks. However, the traditional filling systems are no longer productive in today’s competitive business environment. To solve this dilemma, the management must integrate technology by installing information system that is capable of addressing business processes and accomplish the goals of the organization in a timely and effective manner (Hanrahan, 2007). This can be achieved by introducing the Local Area Network (LAN) and Metropolitan Area Network (MAN) technology to ensure that the company receives data real time. The LAN is a technology used to interconnect computer networks in a single building (Hanrahan, 2007). The installation of the LAN technology in the company will enhance information sharing, which helps in meet information needs of the management. This is attributed to fact that managers will use the LAN technology to link with other members of the staff, thereby enha ncing the provision of information in a timely manner. The fact that the management will be able to obtain data real time helps in aiding timely decision-making in the company. Therefore, the fact that LAN technology allows management to share data is important and helps meet the informational needs of the management. The MAN technology will also help ensure that the informational needs of management are fulfilled. The MAN technology is important because it interconnects users with computer networks in a wide geographical area (Hanrahan, 2007). This may include different buildings within a city. As a result, MAN will allow the management to share data with users located in different geographical locations without necessarily having to travel to get the information. This is critical since it

Monday, August 26, 2019

Position Essay Example | Topics and Well Written Essays - 1250 words

Position - Essay Example However, it was only in recent decades human started to realize that the diseases he experience is mainly due to his meat based diet. Human can digest both plant and meat based food, but human contract disease on eating meat because he is naturally an herbivorous. Just because a food is palatable does not mean that it is compatible with the body. Meat is tasty, nutritious but it s not easily digestible by human body. Today, people are victimized to so many diseases for which blame can be put on the abundant meat they consume. Animal based food products have high fat content which lead to major diseases like heart attack, cancer and obesity. It is normally observed that a person who is vegetarian is less disturbed by illnesses as his body is free of animal fat and other poisonous enzymes from animal food products. Human body and meat eating Meat eating is the natural instinct of animals and human body is not naturally designed to digest meat .If we naturally assess the affinity we hav e to the raw meat and blood of animal, we can understand the choice of our body. No human being is attracted to uncooked meat and body organs of a dead animal .We instead feel disgusted and repulsive to the sight of a dead animal with its body organs protruding out. As per (Bluejay,2002)â€Å"Our teeth, saliva, stomach acid, and intestines are most similar to other plant-eaters, and dissimilar to carnivores and true omnivores†. Moreover, the length of our intestine is bigger than that of a carnivores animal, which assist in digestion of plants based food. Human unlike animals does not possess claws nor do they sweat through tongue. It is also found out that excessive meat eating can reduce the life span of a normal human being and make him diseased at a younger age. If human are naturally designed for meat eating then he should not be harmed by this diet. It takes a long time for the human intestine to digest meat as it rots in the body and give negative effect to the body. I t increases the cholesterol level in the human body and creates heart problems and other ailment to human body. When nature has not provided us with the faculties to hunt and obtain meat then it does not make sense to claim that we are meat eaters. Animal suffering on their killing Animal suffering during their killing is a significant reason to justify the vegetarian diet as it is a non – violent form of obtaining food. When human beings are killed poisonous enzymes are released in to their body which is ingested by human on its consumption. Moreover, we are taking away the life of a living being who has been granted a right to live by the creator of this universe. No human has the right to kill another living being, which has equal right as us to live on the planet. In addition to this, the pain and struggle which an animal undergoes while their slaughter is unimaginable and unforgivable. Nowadays animals are killed in an extremely cruel manner which can horrify any meat ea ter to a great level. â€Å"But many people refuse to eat meat because of the inhumane treatment of the animals and the animal suffering that are mass-produced to feed the population†(Being Vegetarian,2008). The mass slaughtering of animals in the slaughter house is a pain afflicting sight and they are treated with utmost cruelty a before killing. Giving pain and obtaining food is not suited to human being who are naturally emotional and loving by nature. When we eat flesh of an animal we are

Sunday, August 25, 2019

Terror is Foreign Western Media's portrayal of Islam Essay

Terror is Foreign Western Media's portrayal of Islam - Essay Example A major complain from the Muslims all over the world is Western media’s falsification, over-generalization, distortion and sensationalization of stories that touch on Islam (Asadulla 195). The main problem is brought about by ignorance or carelessness, prejudice, or because the Western media does not have the ability to separate myth from reality, or probably because they do not understand the social, religious and political dynamics of the Muslim societies (Hafez 19). In his speech in Cairo University in 2009, President Obama spoke favorably of Islam saying that Islam has always been a part of America’s history. He even added that Arab-Americans had fought in American wars, served in the government, stood for civil rights, started businesses, taught at American universities, had excelled in their sports arenas, won Nobel prizes, built their tallest buildings and lit the Olympic torch (FAIR 1). This undeniable facts articulated by the U.S President should be what the We stern media focus on, but unfortunately their portrayal of a whole lot of 1.5 billion Muslims is nothing but sickening. This paper intends to shed light on the gross misrepresentations of Arabs and Muslims in the Western media by exposing these biased stereotypical misrepresentations. It will be found that the Western media propagate an inaccurate and unfair image of the collective Arabs and Muslims due to their lack of ethical principles of truth, fairness, objectivity and balance. In addition, this paper will explain why this phenomenon continues and see just in passing what can be its solutions. To begin with, negative stereotyping is the putting of unpleasant labels and characteristics on a group of people based on unfounded allegations while forgetting to account for their individual differences. This is where the Western media is particularly in error. There is a strong inclination in Western mass media to categorize Islam as a fanatic, and violent religion characterized by th e chopping off limbs, violation of the rights of women, and representing a strong opposition towards cherished Western ideas and values of freedom, human rights and democracy (Poole 17). Poole observes that there is equation of Islam with politics and association of Islamic politics with extremism and this extremism with terrorism. This linkage results in the interpretation of political violence without taking into consideration its social and political context (23). Following the September 11 attacks, Arabs and Muslims were repeatedly misrepresented in the Western media on an unprecedented scale. It is important to note that the attacks were not the genesis of this phenomenon. As Jack Shaheen has prolifically researched and written, it dates back to the first years of the twentieth century and has progressed with growing intensity (174). Shaheen provides vivid examples of television programs dating back to the 1970s that casts Arabs and Muslims generally in bad light. He lists Holl ywood movies and productions such as Dennis the Menace and Charlie’s Angels among others that completely vilify Arabs and Muslims as terrorists. In his seminal work on the image of Arabs and Muslims on Hollywood productions, Shaheen took the task of analyzing approximately 1000 movies with Arab characters which results he published. The conclusions were baffling. Only a dozen displayed positive portrayals, a handful displayed balanced portrayal while the rest presented negative portrayals. In essence, Arab in television stands for hijacking, terrorism, bombings or war. Such

Saturday, August 24, 2019

Analyze how Nguyen Du uses an element of literature to develop a theme Essay

Analyze how Nguyen Du uses an element of literature to develop a theme in THE TALE OF KIEU, or if you wish to push yourself to a - Essay Example The imageries in the tale are perceived as symbols that define a character. A common object used in the poem is the moon. Moon has a great significance to the society especially to Asian people whose cultural beliefs revolve around it. Thus with reference to Asian’s, the author has used to convey the message more significantly. For instance, Chinese believe in the goddess moon and as a result make extensively use images of the moon in their literature works. Imagery of moon has been used to illustrate Kieu, who is the tale’s main character. She is a beautiful, attractive lady and thus the author likens her to the moon in order to emphasize her character and striking physical appearance. The moon diligently and gradually shines from a crescent to a full moon within the same time period year in year out. Despite the weather changes, it is persistent to complete its course. Like the moon, Kieu faces many challenges and complications. However, her undeterred persistence and determined to retain her natural character and assume her role is alarming. She even takes the risk of engaging herself in the prostitution to defend her responsibility to her father. In addition, the moon has been used to describe other characters in the tale such as the Thuy sisters. Kieu and Van are both charming and physically attractive. Their beauty epitomizes that of the goddess moon in the Chinese culture. Men who admire and praise her because of her enticing look illustrate the beauty of Kieu. Chinese believe in a goddess moon called Chang-o, a moon ruler whom they highly praise due to her feminine beauty that surpasses any generations. According to the author, Kieu deserves such a high position in the society. Moreover, the changing aspects of her life are characteristic to those of the moon. Just as the moon changes from crescent, that only shines with mild brightness and grows into a full to assume more lighting responsibility, so do her responsibilities increase as she matures. In addition, Kim and Kieu’s lover share such deep love that they pledge vows to the moon. As they do so, the moon is shining brightly and epitomizes their moods at that point in time. Their happiness and excitement could be equated to the moon’s brightness. In addition, the poem ends with Kieu reuniting with her family and lover, Kim, after having been away for fifteen years. Author uses the imagery to illustrate her happiness by saying the moon shone unusually bright at that time (Du 161). Her past fifteen years can be likened to the numerous dark nights that are slowly lit by the moon. The unusually bright full moon depicts joyous return home. Imagery has also been used to illustrate mental conditions of Kieu. A crescent appears during cold windy night (Du 85). At this time, she is sitting at the window while waiting for Thuc. A crescent mood is used to illustrate her low mood since it produces a less bright light as compared to the full moon just as she ap pears gloomy and dull. The presence of three stars surrounding the crescent shows that Kieu has missed Thuc. This is because, to a Chinese character, crescent together with three stars represent the heart, which is also part to the name given to Thuc in Vietnamese. Lastly, the physical nature of the moon illustrates her determination to retain her original personality of innocence and faith despite the challenges in life. In her life,

Friday, August 23, 2019

Professional Development Essay Example | Topics and Well Written Essays - 2500 words

Professional Development - Essay Example The Aviva ask the candidates to deal company’s clients through telephone line and the candidate’s performance in this process is evaluated by company officials. 1. Communication skill Communication skill is the basic requirement that every employer expects with an applicant regardless of the nature and size of the company. This is highly significant in sectors like insurance industry where group work and customer interaction are inevitable factors. Communication skill is considered as primary requirement for employees as it enables the upward and downward flow of information easily at the organisational level. Obviously Aviva also gives higher importance to this skill as one of the criteria for employee recruitment. 2. ICT skills This is another area of expertise that modern enterprises including Aviva have fixed as employment criterion. According to their recruitment strategy, an employee must possess Information and Communication Technology (ICT) skills in order to be employed at their reputed insurance business venture. Aviva’s nature of business includes creation and presentation of plans using graphs and diagrams which necessitate employees’ need of ICT skills. Only a person with good experience in office management and computer applications can meet this requirement. 3. Leadership skills Aviva thinks that leadership quality must be an essential criterion in the employee selection process as their staffs are expected to take charge of projects and be able to work among other group members. Leadership skill in fact involves an array of innate qualities and acquired skills which enable a person to carry out positive interaction with his group members and also with the employer on behalf of his group. From the point of view of Yukl (2003), leadership behavior can be grouped into three such as ‘task-oriented, relation-oriented, and participative leadership’. An individual with leadership skill would come up with innovat ive ideas and normally undertakes the responsibility of his group toward the accomplishment of the given task. All other personal skills including communication skill, knowledge, negotiation skill, and many more add to one’s leadership abilities. 4. Project management skills As mentioned earlier, insurance sector involves wide range of planning activities on their new projects. Therefore, Aviva asks project management skill as another inevitable area of employees’ proficiency. Sometimes, the company would assign specific tasks to its employees and it is not possible to dispose those assignments successfully if the candidate cannot efficiently comply with project management requirements. Although Aviva values math skills, social skills, and work skills, these are not mandatory because the company provides six months basic training to its employees to meet these requirements. 2 Given below are the areas of my proficiency that make me an appropriate candidate at Aviva. I have also specified the area in which I have to further track my excellence. Communication skill must be one of the most important potentials I possess that can meet the employer’s requirements. In addition to the academic knowledge in my majors like Humanities & Social Science and Business Marketing, I have sufficient work experience in marketing field where I had to deal with a wide range of customers. My employment with Samjee International CORP’

Thursday, August 22, 2019

Hazardous material managment and HAZMAT teams Case Study

Hazardous material managment and HAZMAT teams - Case Study Example Proper management of hazardous materials entails minimization of the risks associated with such materials to the entire society while at the same time avoiding shifting of the risks to other sectors. This paper explores the issues of hazardous management and the Hazmat team. Hazardous materials encompass all materials classified as having the potential to cause harm or affect the wellbeing of people, the environment as well as property (Raven, Hassenzahi & Berge, 2011). Such materials fall into different categories including radiological and nuclear particles, biological and chemical materials. Threats of bioterrorism have seen classification of various microorganisms such as bacteria, viruses, fungi, rickettsial agents among other toxins as potential hazardous biological materials (Public Safety Canada, 2011). Classification of these microbes as hazardous materials lies in their ability to be dispersed in aerosols and the health risks they pose on the people and the environment. Health complications associated with these biological agents pose lethal and disabling threats to humankind. Radiological and nuclear materials on the other hand pose great health risks on exposure to people, animals and other components of the ecosystem due to their ability to react and damage living cells as well as induction of changes in the genome. Chemical substances with the potential to influence the normal functioning of the human body and the ecosystem also fall under the category of hazardous chemicals or materials. Hazardous material incidences refer emergencies or incidents that pose great risks of infections, contamination and potentials long-term effects on the wellbeing of people and the environment (Raven, Hassenzahi & Berge, 2011). The scope of hazardous materials incidents entails fires, explosions, chemical leakages and spills, and hazardous material transportation accidents among other incidences such as bioterrorism attacks.

The importance of early formal education Essay Example for Free

The importance of early formal education Essay Abstract: Informed by, and primarily rooted in research, developmentally appropriate practice is central to optimizing children’s learning and development in early childhood educational settings CITATION Nat09 \l 1033 (NAEYC, 2009). The use of developmentally appropriate practice (DAP) involves teaching in a way that understands development in the classroom individually, and as a whole CITATION Liz13 \l 1033 (Taylor, 2013). When considering the role of the early childhood educator, the creation of adaptive and accommodating teaching methods is crucial to building a supportive and dynamic environment for learning. In building such an environment, educators may use the guiding framework of DAP to ensure that their classroom not only reinforces an advantageous atmosphere that is developmentally appropriate at every level, but also actively encourages continuous positive growth for everyone in the learning community. This position statement reaffirms the benefits of DAP in an early childhood setting by examining its guidelines, the needs and characteristics of young children, the many factors influencing a child’s learning and development, creating an environment that meets these needs, family and community involvement,  and understanding the benefits and uses of assessment. Developmentally Appropriate Practice In order to highlight its benefit as an infrastructure to early childhood education, one must first understand developmentally appropriate practice itself. Key to understanding DAP is the understanding that it is informed by our knowledge of development through theory, literature, and research, confirming that it is an evidence based practice CITATION Nat09 \p 10 \l 1033 (NAEYC, 2009, p. 10). The essence of DAP, however, relies on conscious and constant intentionality, â€Å"in the  knowledge that practitioners consider when they are making decisions, and in their always aiming for goals that are both challenging and achievable for children† (9). This wealth of knowledge required of early childhood educators includes extensive understanding of development, but is shaped by one’s knowledge of each child as an individual, their needs and abilities, and the social and cultural contexts from which they come (9,10). This careful intention and forging of relationships fosters an overall enthusiasm for learning by creating an environment for each individual child in  which they are uniquely known, understood, and respected. The National Association for the Education of Young Children’s publication of their position statement in the mid 1980’s was highly influential in the widespread recognition of DAP CITATION Sue10 \p 70 \l 1033 (Bredekamp, 2010, p. 70). DAP is defined as a practice that promotes the optimal learning and development of young children, of which is grounded in research regarding both child development as well as what is required of effective education in early childhood settings (16). In the interest of this definition, developmentally appropriate practice outlines five significant  guidelines for addressing the decisions made by early childhood educators: creating a community of learners, teaching to enhance development and learning, planning curriculum to achieve important goals, assessing children’s development and learning, and establishing reciprocal relationships with families CITATION Nat09 \l 1033 (NAEYC, 2009). Criticism, however, has emerged in response to NAEYC’s position statements over the years, questioning whether the recommended practices retain equal relevance when applied to diverse groups of students CITATION Sue10 \p 71 \l 1033 (Bredekamp, 2010, p.71). In actuality, the significance of this statement is countered in the very definition of this statement, and is even directly addressed in the most recent publication of NAEYC’s position statement on DAP. â€Å"Because the United States children’s learning opportunities often differ sharply with family income 1 / 4 and education, ethnicity, and language background, sizable achievement gaps exist [and have been identified] between demographic groups† CITATION NAE09 \l 1033 (NAEYC, 2009). For this reason, a strong need for the narrowing of these gaps has been clearly emphasized, explaining that  educators and programs must therefore â€Å"provide even more extended, enriched, and intensive learning experiences† for children who’s learning opportunities have been disadvantaged by such disparities CITATION NAE09 \l 1033 (NAEYC, 2009). Characteristics and Needs of Children In order to enable children to reach challenging and achievable goals, understanding that all domains of a child’s development are interrelated is imperative. In this, children do not divide their experiences, but contrarily their learning and development evolves as one great culmination of all experience CITATION Liz13 \l 1033 (Taylor, 2013). Not only are all areas of development and learning important; similarly, they are the result of the interaction between the sequential and varying maturation of the child and their growing experience CITATION Nat09 \l 1033 (NAEYC, 2009). The inseparable nature of all developmental domains: physical, social, emotional, and cognitive, illustrate the relative needs of each child at the different stages of their development. Every child is different, and while development may be predicted in a sequential progression, it does vary and cannot be completely limited to what we consider more exact periods of development. The generally accepted periods of development, however, refer to infancy extending from birth- 2years, early childhood as 2-5 years, and middle and late childhood as 5-11 years of age. Cephalocaudal pattern of growth characterizes physical development in infancy, where growth occurs from the head down, resulting in control of the head before the legs CITATION Joh11 \p 107 \l 1033 (Santrock, 2011, p. 107). Motor development then originates from the center of the body and moves outward, where coordination of the trunk and arms precede the hands and fingers CITATION Mot10 \l 1033 (Flinders University, 2010). Beginning as gross and graduating to fine motor development, reach and grasp are achieved in infancy. Crawling and walking also occur during infancy, typically between 5-17 months CITATION Mot10 \l 1033 (Flinders University, 2010). Motor abilities develop rapidly in early childhood in which walking leads to running and jumping, the ability to climb develops, and hand-eye coordination progresses with the growing ability to cross midline CITATION Joh11 \l 1033 (Santrock, 2011). By mid to late childhood myelination of the nervous system results in manipulation skills relative to that of an adults (153). Cognitive development can be simplified into three stages: sensorimotor, preoperational, and concrete operational. Infants in the sensorimotor stage coordinate an understanding of the world through sensory experiences, eventually leading to the beginnings of symbolic thought (174). During the preoperational stage, children’s ability to think symbolically expands as they begin to use words and images to represent their interpretation of the world (180). Their interpretation, however, is strongly influenced by egocentrism and centration (174). By mid to late childhood, the concrete operational stage emerges. From 6-7 years and on children exhibit the ability to perform concrete operations in their capacity to logically reason regarding concrete events, and use classification and seriation to organize objects (174). The maturation of self-understanding explains the complexities of social and emotional development in children. â€Å"Children are not just given a self by their parents or culture; rather, they construct themselves†(324). As they grow, their cognitive representation of the self, or self-understanding, changes (324). Self-recognition is the key indicator of self-understanding in infancy, and initially appears around three months of age (324). The ability to establish a positive recognition of oneself sets the stage for establishing relationships with others, as well as the eventual positive regulation and understanding of emotions. In conjunction with verbal communication, children are able to descriptively distinguish themselves, typically using abilities or accomplishments, active and physical descriptions, or unrealistic overestimations to define themselves (326-7). For example, a 4-year-old may describe himself or herself by saying â€Å"I know how to count† or â€Å"I have blonde hair and he has  brown hair† (325). Social comparison and self-description grow in complexity in mid to late 2 / 4 childhood, and include more realistic identifications of the self. With increased aptitude for perspective, children compare themselves with others, and use social and psychological traits to refer to themselves. For instance, a 7-year-old may say, â€Å"I am smart, and I can ride a bike as good as my sister† (326). Creating Learning Environments Providing an environment that is rich and diverse in intellectual and sensory experiences supports an effective and developmentally appropriate curriculum. The careful and informed intention of teachers is also reflected in learning environments that meet and challenge the needs of each individual child as well as the classroom as a whole. Infants and toddlers require a stimulating and dynamic sensory environment as they begin to establish themselves through the physical exploration of the world around them. As infants and toddlers begin to crawl, they need easily accessible opportunities to manipulate and observe their environment. Placing mirrors at ground level, and providing reachable and interesting toys and pictures, encourage development. The establishment of trust and autonomy is also central to infantile development; therefore, building responsive relationships between child and teacher should be emphasized as well as providing a safe and natural environment in support of the child CITATION Tri09 \l 1033 (Trister amp; Bickart, 2009). Interactively reading to infants and toddlers is vital to establishing a relationship with language and begins a visual familiarity with script CITATION Liz13 \l 1033 (Taylor, 2013). Centering on initiative, 3 to 5-year-olds need an interactive environment that offers them many  choices, and allows them to grow in their decision-making abilities CITATION Tri09 \l 1033 (Trister amp; Bickart, 2009). Language skills during these years expand enormously, as do fine and gross motor abilities; meaning, the â€Å"richer and more interesting the environment, the more opportunities there are for children to learn† (1). The learning environment should reflect the very physically and socially active nature of 3 to 5-year-olds and should allow for spacious areas for high-level group play, as well as individual playtime. It is especially important to recognize that â€Å"the physical  environment is the vehicle through which children learn† and therefore should be changed periodically to inspire new experiences (1). During the years of mid to late childhood, autonomy becomes a source of power for children as they demonstrate self-direction and pride in accomplishment (1). The creation of stations, corners, or individual learning environments within the classroom provide space for this feeling of independence. Establishing friendships is very important to 6 to 8-year-olds, meaning that the environment should also include opportunities for high-level small group play. Across the  developmental board, however, a child needs to be able to see themselves in their environment as well as in their learning experiences. Interests of all children should be catered to by the learning environment as well as challenged by it. Displaying pictures of students, their work or accomplishments, and what intrigues them promotes positive development of the self, and creates enthusiasm for learning. Assessment Dynamic, constant, and ongoing assessment is key in early childhood education, and should barely look or behave like assessment at all CITATION Liz13 \l 1033 (Taylor, 2013). The power of  observation and assessment lies in their ability to tap into some of the purest and uninhibited forms of interaction children exhibit. â€Å"Play is the expression of who a child is in every way†, and therefore should be closely and individually observed in order to better understand exactly where children are developing, their strengths, what challenges them, and their unique interests CITATION Liz13 \l 1033 (Taylor, 2013). Educators must asses major childhood growth and developmental domains, expected outcomes, and unique patterns of development in order to provide scaffolding experiences  that value each individual child as well as the learning community CITATION Liz13 \l 1033 (Taylor, 2013). Maintaining portfolios for each child in a class tracks progress, as well as paints a better picture of development and learning for that child. Portfolios should be reviewed with the child and their families, contain notes and observations regarding the child in all domains, and should hold 3 / 4 examples of accomplishments made by the child reflected over time. Influences on Learning It is nearly impossible to identify every aspect of influence on a child’s learning. Among the  multitude of ways learning is influenced, the role of the teacher is paramount, along with the impact of peers, family, and culture. Parents are extremely powerful in their influence on their child’s sentiment towards learning and being a part of a community of learners. Encouragement and support from parents communicates the importance of their development, as well as fosters desire to learn and be a part of their greater community. Parents can demonstrate a loving care for their children’s continued achievement by doing something as simple as reading to them every night. By  making this simple commitment to their child, parents promote a positive attitude towards this sort of intellectual engagement, as well as strengthen a caring relationship with their child. Not only is learning made important by this, but so too is the importance of investing quality time together reinforced. Involving Families and the Community Families, culture, and communities that children come from directly impact their value and understanding of how one behaves, demonstrates respect, and appreciates CITATION Liz13 \l 1033 (Taylor, 2013). Building reciprocal partnerships with parents and families establishes â€Å"mutual  respect, cooperation, shared responsibility† necessary in moving toward the achievement of shared goals CITATION Nat09 \p 23 \l 1033 (NAEYC, 2009, p. 23). Meeting the family where they are and where they come from, relationships are established through ongoing trust and commitment to one another. Families should be invited into the classroom community, supported, and encouraged in their involvement. Keeping families informed via newsletters, inviting them into the classroom, providing conferences, and even making home visits are all ways in which a caring community of learners is built CITATION Liz13 \l 1033 (Taylor, 2013). Conclusion The benefits of using developmentally appropriate practice in early childhood education are exemplified in its specific intention to meet and challenge the developmental needs of each individual child, as well as the entire class. By discussing the characteristics and needs of children, their progressive development across all domains, the ways in which their learning environment reflects and meets those needs, the importance and benefits of assessment, influences on learning, and the importance of family and community involvement, one can see how DAP holistically  approaches early childhood education. Works Cited BIBLIOGRAPHY Bredekamp, S. (2010). Effective Practices in Early Childhood Education: Building a Foundation . Online . Flinders University. (2010, Feb 6). Motor Development. Retrieved from ehlt. flinders. edu. au: http://ehlt. flinders. edu. au/education/DLiT/2000/Motor%20Dev/start. htm NAEYC. (2009). Developmentally Appropriate Practice in Early Childhood Programs Serving Children from Birth through Age 8. (C. Copple, amp; S. Bredekamp, Eds. ) Retrieved from National Association for the Education of Young Children: www. naeyc. org NAEYC. (2009). Key Messages of the Position Statement. (C. Copple, amp; S. Bredekamp, Eds. ) Retrieved from National Association for the Education of Young Children: www. naeyc. org Santrock, J. (2011). Child Development (13th ed. ). New York : McGraw-Hill . Taylor, L. (2013, November ). Developmentally Appropriate Practice . (E. 3. Lecture, Interviewer) Trister, D. , amp; Bickart, T. (2009). How Curriculum Frameworks Respond to Developmental Stages: Birth through Age 8. Retrieved December 2013, from ECAP Collaborative : http://ecap. crc. illinois. edu/pubs/katzsym/dodge. html POWERED BY TCPDF (WWW. TCPDF. ORG).