Polymerase Chain Reaction Problem Solutions with Assignment Help

Polymerase chain reactions are the specific terms used in stating different compounds and sates of the carbon compound which are specially used in a particular branch of chemistry called the organic chemistry. Polymerase chain reactions are the specific reactions which take place between several carbon compounds under particular circumstances. These invariably tough reaction chains are a part of the study of organic chemistry and thus the chain reactions are considerably hard to remember or to be memorized.Many individual students can be found who really struggle a lot in remembering these chain reaction solutions and putting the reaction chains in practical world implementation like the exam. Even the assignment problems specified with the polymerase chain reaction topic is really tricky and tough to complete as the writing procurement of correct reaction statements are not at all easy.Finding a help which eventually provides the correct polymerase chain reaction and reaction statem ent involvements, also is going to give you strong headache as you will not find any profound help which can help you in completing the particular assignment. â€Å"ASSIGNMEMTHELP. NET† is really a stand-alone online website which can be utilized to collect all the correct information and the polymerase chain reaction nomenclature. Polymerase chain reaction is the path of change and improvement of the states of the plastic molecules.Plastic is basically a carbon compound high on the carbon density and possesses plasticity. Thousands of individual plastic molecules get bonded together in the procurement of producing polymer compound from the pure plastic granules. â€Å"ASSIGNMENTHELP. NET† is such an educational website which involves the profound solutions providing procurements to the individual students who seek guidelines to write and complete any polymerase chain reaction assignment problem assigned to them with a specified topic involvement.Online tutorial videos and tutorial classes also can be considered as helpful consignments in completing any organic chemistry assignment problem. The help from the expert individuals with the approval from the expert panel of world renowned professors can be immensely helpful in completing any polymerase chain reaction assignment problem involvement as you get all the required help online with just few clicks of your mouse.You can opt for different communication establishment options that are available for you, which will really help you in finding better solutions and detailed information to complete one difficult polymerase chain reaction assignment problem. Certain communication options are available to choose from as you can opt for the email conversation where you will have to send one email containing the different aspects and required fields about which you need the information.You can also ask the direct question by email as you will get your point-to-point required answer completely free from a ny plagiarism. Also, you can opt for the live chat option or phone conferencing to discuss about the matter of your requirement. You will be amazed to see that the very website will take responsibility of providing you with several study materials and guidelines to write a perfect assignment on the particular topic once you get signed up with a considerable amount of signing up or admission charge to the website

Back to school icebreakers Essay

1. OPENING-DAY LETTER. WRITE A LETTER TO YOUR STUDENTS. IN THAT LETTER, INTRODUCE YOURSELF TO STUDENTS. TELL THEM ABOUT YOUR HOPES FOR THE NEW SCHOOL YEAR AND SOME OF THE FUN THINGS YOU’LL BE DOING IN CLASS. IN ADDITION, TELL STUDENTS A FEW PERSONAL THINGS ABOUT YOURSELF; FOR EXAMPLE, YOUR LIKES AND DISLIKES, WHAT YOU DID OVER THE SUMMER, AND YOUR HOBBIES. ASK QUESTIONS THROUGHOUT THE LETTER. YOU MIGHT ASK WHAT THEY LIKE MOST ABOUT SCHOOL, WHAT THEY DID DURING THE SUMMER, WHAT THEIR GOALS FOR THE NEW SCHOOL YEAR ARE, OR WHAT THEY ARE REALLY GOOD AT. (IN YOUR LETTER, BE SURE TO MODEL THE CORRECT PARTS OF A FRIENDLY LETTER! ) ON THE FIRST DAY OF SCHOOL, DISPLAY YOUR LETTER ON AN OVERHEAD PROJECTOR. THEN PASS EACH STUDENT A SHEET OF NICE STATIONERY. HAVE THE STUDENTS WRITE A RETURN LETTER TO YOU. IN THIS LETTER, THEY WILL NEED TO ANSWER SOME OF YOUR QUESTIONS AND TELL YOU ABOUT THEMSELVES. THIS IS A GREAT WAY TO GET TO KNOW EACH OTHER IN A PERSONAL WAY! VARIATION: MAIL THE LETTER TO STUDENTS BEFORE SCHOOL STARTS, AND ENCLOSE A SHEET OF STATIONERY FOR KIDS TO WRITE YOU BACK. 2. STRINGING TOGETHER CONVERSATION. CUT STRING OR YARN INTO PIECES OF DIFFERENT LENGTHS. (EACH PIECE SHOULD HAVE A MATCHING PIECE OF THE SAME LENGTH. THERE SHOULD BE ENOUGH PIECES SO THAT EACH STUDENT WILL HAVE ONE. ) THEN GIVE EACH STUDENT ONE PIECE OF STRING, AND CHALLENGE EACH STUDENT TO FIND THE OTHER STUDENT WHO HAS A STRING OF THE EXACT SAME LENGTH. AFTER STUDENTS HAVE FOUND THEIR MATCHES, THEY CAN TAKE TURNS INTRODUCING THEMSELVES TO EACH OTHER. YOU CAN PROVIDE A LIST OF QUESTIONS TO HELP STUDENTS â€Å"BREAK THE ICE,† OR STUDENTS CAN COME UP WITH THEIR OWN. YOU MIGHT EXTEND THE ACTIVITY BY HAVING EACH STUDENT INTRODUCE HIS OR HER PARTNER TO THE CLASS. 3. ANIMAL GROUPS. ON THE FIRST DAY OF SCHOOL, GATHER ALL THE STUDENTS FROM A GRADE LEVEL IN A LARGE COMMON AREA. GIVE EACH STUDENT A  SLIP OF PAPER WITH THE NAME OF AN ANIMAL ON IT. THEN GIVE STUDENTS INSTRUCTIONS FOR THE ACTIVITY: THEY MUST LOCATE THE OTHER MEMBERS OF THEIR ANIMAL GROUP BY IMITATING THAT ANIMAL’S SOUND ONLY. NO TALKING IS ALLOWED. THE STUDENTS MIGHT HESITATE INITIALLY, BUT THAT HESITATION SOON GIVES WAY TO A CACOPHONY OF SOUND AS THE KIDS MOO, SNORT, AND GIGGLE THEIR WAY INTO GROUPS. THE END RESULT IS THAT STUDENTS HAVE FOUND THEIR WAY INTO THEIR HOMEROOMS OR ADVISORY GROUPS FOR THE SCHOOL YEAR, AND THE INITIAL BARRIERS TO GOOD TEAMWORK HAVE ALREADY BEEN BROKEN. 4. A TANGLED WEB. GATHER STUDENTS IN A CIRCLE SITTING AROUND YOU ON THE FLOOR. HOLD A LARGE BALL OF YARN. START BY TELLING THE STUDENTS SOMETHING ABOUT YOURSELF. THEN ROLL THE BALL OF YARN TO A STUDENT WITHOUT LETTING GO OF THE END OF THE YARN. THE STUDENT WHO GETS THE BALL OF YARN TELLS HIS OR HER NAME AND SOMETHING GOOD ABOUT HIMSELF OR HERSELF. THEN THE STUDENT ROLLS THE YARN TO SOMEBODY ELSE, HOLDING ON TO THE STRAND OF YARN. SOON STUDENTS HAVE CREATED A GIANT WEB. AFTER EVERYONE HAS SPOKEN, YOU AND ALL THE STUDENTS STAND UP, CONTINUING TO HOLD THE YARN. START A DISCUSSION OF HOW THIS ACTIVITY RELATES TO THE IDEA OF TEAMWORK (FOR EXAMPLE, THE STUDENTS NEED TO  WORK TOGETHER AND NOT LET OTHERS DOWN). TO DRIVE HOME YOUR POINT ABOUT TEAMWORK, HAVE ONE STUDENT DROP HIS OR HER STRAND OF YARN; THAT WILL DEMONSTRATE TO STUDENTS HOW THE WEB WEAKENS IF THE CLASS ISN’T WORKING TOGETHER. 5. STUDENT DICTIONARY. WRITE FIVE QUESTIONS ON THE BOARD. QUESTIONS MIGHT INCLUDE THE FOLLOWING: WHAT IS YOUR NAME? WHERE WERE YOU BORN? HOW MANY BROTHERS OR SISTERS DO YOU HAVE? WHAT ARE THEIR NAMES? DO YOU HAVE ANY PETS? TELL STUDENTS TO WRITE THOSE QUESTIONS ON A PIECE OF PAPER AND TO ADD TO THAT PAPER FIVE MORE QUESTIONS THEY COULD ASK SOMEONE THEY DON’T KNOW. PAIR STUDENTS, AND  HAVE EACH STUDENT INTERVIEW HIS OR HER PARTNER AND RECORD THE RESPONSES. THEN HAVE EACH STUDENT USE THE INTERVIEW RESPONSES TO WRITE A â€Å"DICTIONARY DEFINITION† OF HIS OR HER PARTNER TO INCLUDE IN A STUDENT DICTIONARY. YOU MIGHT MODEL THIS ACTIVITY BY CREATING A SAMPLE DICTIONARY DEFINITION ABOUT YOURSELF. FOR EXAMPLE: REYNOLDS, KIM. PROPER NOUN. 1. BORN IN RIVERSIDE, CALIFORNIA. 2. NO BROTHERS OR SISTERS. †¦ HAVE STUDENTS BRING IN SMALL PICTURES OF THEMSELVES TO PASTE NEXT TO THEIR ENTRIES IN THE STUDENT DICTIONARY. BIND THE DEFINITIONS INTO A BOOK, AND DISPLAY IT AT BACK-TO-SCHOOL NIGHT. 6. CLASSMATE SCAVENGER HUNT. PROVIDE EACH STUDENT WITH TWO INDEX CARDS. ASK EACH STUDENT TO WRITE A BRIEF DESCRIPTION OF HIS OR HER PHYSICAL CHARACTERISTICS ON ONE INDEX CARD AND HIS OR HER NAME ON THE OTHER. (PHYSICAL CHARACTERISTICS USUALLY DO NOT INCLUDE CLOTHING, BUT IF YOU TEACH THE PRIMARY GRADES, YOU MIGHT ALLOW STUDENTS TO INCLUDE CLOTHING IN THEIR DESCRIPTIONS. ) PUT ALL THE PHYSICAL CHARACTERISTIC INDEX CARDS IN A SHOE BOX, MIX THEM UP, AND DISTRIBUTE ONE CARD TO EACH STUDENT (MAKING SURE THAT NO STUDENT GETS HIS OR HER OWN CARD). GIVE STUDENTS TEN MINUTES TO SEARCH FOR THE PERSON WHO FITS THE DESCRIPTION ON THE CARD THEY HOLD. (THERE IS NO TALKING DURING THIS ACTIVITY, BUT STUDENTS CAN WALK AROUND THE ROOM. ) AT THE END OF THE ACTIVITY, TELL STUDENTS TO WRITE ON THE CARD THE NAME OF THE STUDENT WHO BEST MATCHES THE DESCRIPTION. THEN HAVE STUDENTS SHARE THEIR RESULTS. HOW MANY STUDENTS GUESSED CORRECTLY? http://www. ToLearnEnglish. com – http://www. ToLearnFrench. com – Spanish : http://www. espagnolfacile. com/english – German: http://www. allemandfacile. com/english 7. COOPERATIVE MUSICAL CHAIRS. THIS ACTIVITY IS A TAKEOFF ON THE FAMILIAR MUSICAL CHAIRS GAME. SET A CIRCLE OF CHAIRS WITH ONE LESS CHAIR THAN THE NUMBER OF STUDENTS IN THE CLASS. PLAY MUSIC AS THE STUDENTS CIRCLE AROUND THE CHAIRS. WHEN THE MUSIC STOPS, THE STUDENTS MUST SIT IN A SEAT. UNLIKE THE TRADITIONAL GAME, THE PERSON WITHOUT A SEAT IS NOT OUT. INSTEAD, SOMEONE MUST MAKE ROOM FOR THAT PERSON. THEN REMOVE ANOTHER SEAT AND START THE MUSIC AGAIN. THE KIDS END UP ON ONE ANOTHER’S LAPS AND SHARING CHAIRS! YOU CAN PLAY THIS GAME OUTSIDE, AND YOU CAN END IT WHENEVER YOU WISH. AFTERWARD, STRESS THE TEAMWORK AND COOPERATION THE GAME TOOK, AND HOW STUDENTS NEEDED TO ACCEPT ONE ANOTHER TO BE SUCCESSFUL. REINFORCE THAT IDEA BY REPEATING THIS GAME THROUGHOUT THE YEAR. 8. HANDS-ON ACTIVITY. HAVE STUDENTS BEGIN THIS ACTIVITY BY LISTING AT LEAST 25 WORDS THAT DESCRIBE THEM AND THE THINGS THEY LIKE. (NO SENTENCES ALLOWED, JUST WORDS! ) THEN ASK EACH STUDENT TO USE A DARK PEN TO TRACE THE PATTERN OF HIS OR HER HAND WITH THE FINGERS SPREAD APART. PROVIDE ANOTHER SHEET OF PAPER THAT THE STUDENT CAN PLACE ON TOP OF THE TRACING. (SINCE THE TRACING WAS DONE WITH A DARK PEN, THE OUTLINE SHOULD BE VISIBLE ON THE SHEET BELOW. ) DIRECT STUDENTS TO USE THE OUTLINES AS GUIDES AND TO WRITE THEIR WORDS AROUND IT. PROVIDE STUDENTS A VARIETY OF DIFFERENT COLORED PENCILS OR MARKERS TO USE AS THEY WRITE. THEN INVITE STUDENTS TO SHARE THEIR WORK WITH THE CLASS. THEY MIGHT CUT OUT THE HAND OUTLINES AND MOUNT THEM ON CONSTRUCTION PAPER SO YOU CAN DISPLAY THE HANDS FOR OPEN HOUSE. CHALLENGE EACH PARENT TO IDENTIFY HIS OR HER CHILD’S HAND. 9. CHAIN GANG. BEGIN BY ASKING STUDENTS, â€Å"WHO CAN DO SOMETHING REALLY WELL? † AFTER A BRIEF DISCUSSION ABOUT SOME OF THE STUDENTS’ TALENTS, PASS OUT PAPER AND ASK STUDENTS TO WRITE DOWN FIVE THINGS THEY DO WELL. THEN PROVIDE EACH STUDENT WITH FIVE DIFFERENT COLORED PAPER STRIPS. HAVE EACH STUDENT WRITE A DIFFERENT TALENT ON SEPARATE PAPER STRIPS, THEN CREATE A MINI PAPER CHAIN WITH THE STRIPS BY  LINKING THE FIVE TALENTS TOGETHER. AS STUDENTS COMPLETE THEIR MINI CHAINS, USE EXTRA STRIPS OF PAPER TO LINK THE MINI CHAINS TOGETHER TO CREATE ONE LONG CLASS CHAIN. HAVE STUDENTS STAND AND HOLD THE GROWING CHAIN AS YOU LINK THE PIECES TOGETHER. ONCE THE ENTIRE CHAIN IS CONSTRUCTED AND LINKED, LEAD A DISCUSSION ABOUT WHAT THE CHAIN DEMONSTRATES (FOR EXAMPLE, ALL THE STUDENTS HAVE TALENTS; ALL THE STUDENTS HAVE THINGS THEY DO WELL; TOGETHER, THE STUDENTS HAVE MANY TALENTS; IF THEY WORK TOGETHER, CLASSMATES CAN ACCOMPLISH ANYTHING; AND THE  CLASS IS STRONGER WHEN STUDENTS WORK TOGETHER THAN WHEN INDIVIDUAL STUDENTS WORK ON THEIR OWN). HANG THE CHAIN IN THE ROOM AS A CONSTANT REMINDER TO STUDENTS OF THE TALENTS THEY POSSESS AND THE BENEFITS OF TEAMWORK. 10. SILHOUETTE COLLAGE. STOCK UP ON OLD MAGAZINES. (YOUR SCHOOL LIBRARIAN MIGHT HAVE A DISCARD PILE YOU CAN DRAW FROM. ) INVITE STUDENTS TO SEARCH THROUGH THE MAGAZINES FOR PICTURES, WORDS, OR ANYTHING ELSE THAT MIGHT BE USED TO DESCRIBE THEM. THEN USE AN OVERHEAD PROJECTOR OR ANOTHER SOURCE OF BRIGHT LIGHT TO CREATE A SILHOUETTE OF EACH STUDENT’S PROFILE; HAVE EACH STUDENT SIT IN FRONT OF THE  LIGHT SOURCE AS YOU OR ANOTHER STUDENT TRACES THE OUTLINE OF THE SILHOUETTE ON A SHEET OF 11- BY 17-INCH PAPER TAPED TO THE WALL. HAVE STUDENTS CUT OUT THEIR SILHOUETTES, THEN FILL THEM WITH A COLLAGE OF PICTURES AND WORDS THAT EXPRESS THEIR IDENTITY. THEN GIVE EACH STUDENT AN OPPORTUNITY TO SHARE HIS OR HER SILHOUETTE WITH THE GROUP AND TALK ABOUT WHY HE OR SHE CHOSE SOME OF THE ELEMENTS IN THE COLLAGE. POST THE SILHOUETTES TO CREATE A SENSE OF â€Å"OUR HOMEROOM. † 11. HEADLINES. AS PART OF THE NORMAL FIRST-DAY ROUTINE, MANY TEACHERS HAVE EACH STUDENT FILL OUT A CARD WITH SUCH INFORMATION AS NAME,  ADDRESS, PHONE NUMBER, PARENTS’ NAMES AND WORK NUMBERS, AND SO ON. YOU CAN USE SUCH CARDS TO GATHER OTHER INFORMATION TOO, SUCH AS SCHOOL SCHEDULE, WHY THE STUDENT SIGNED UP FOR THE CLASS, WHETHER THE STUDENT HAS A PART-TIME JOB, AND WHETHER HE OR SHE HAS ACCESS TO THE INTERNET AT HOME. AS A FINAL BIT OF INFORMATION, ASK THE STUDENT TO WRITE A HEADLINE THAT BEST DESCRIBES HIM OR HER! THIS HEADLINE MIGHT BE A QUOTE, A FAMILIAR EXPRESSION, OR ANYTHING ELSE. WHEN STUDENTS HAVE COMPLETED FILLING OUT THE CARDS, GIVE A LITTLE QUIZ. ASK STUDENTS TO NUMBER A SHEET OF PAPER FROM 1 TO __, DEPENDING ON HOW MANY STUDENTS ARE IN THE CLASS. THEN READ ALOUD THE HEADLINES ONE AT A TIME. ASK STUDENTS TO WRITE THE NAME OF THE PERSON THEY THINK EACH HEADLINE BEST DESCRIBES. WHO GOT THE HIGHEST SCORE? (BONUS! IT SEEMS AS IF PARENTS ARE CONTACTED ONLY IF THERE IS A PROBLEM WITH STUDENTS. AT THE END OF EACH GRADING PERIOD, USE THE HOME ADDRESS INFORMATION TO SEND A POSTCARD TO A HANDFUL OF PARENTS TO INFORM THEM ABOUT HOW WELL THEIR CHILD IS DOING. THIS MIGHT TAKE A LITTLE TIME, BUT IT IS GREATLY APPRECIATED! ) 12. POP QUIZ. AHEAD OF TIME, WRITE A SERIES OF GETTING-TO-KNOW-YOU QUESTIONS ON SLIPS OF PAPER — ONE QUESTION TO A SLIP. (YOU CAN REPEAT SOME OF THE QUESTIONS. ) THEN FOLD UP THE SLIPS, AND TUCK EACH SLIP INSIDE A DIFFERENT BALLOON. BLOW UP THE BALLOONS. GIVE EACH STUDENT A BALLOON, AND LET STUDENTS TAKE TURNS POPPING THEIR BALLOONS AND ANSWERING THE QUESTIONS INSIDE. 13. FACT OR FIB? THIS IS A GOOD ACTIVITY FOR DETERMINING YOUR STUDENTS’ NOTE-TAKING ABILITIES. TELL STUDENTS THAT YOU ARE GOING TO SHARE SOME INFORMATION ABOUT YOURSELF. THEY’LL LEARN ABOUT SOME OF YOUR BACKGROUND, HOBBIES, AND INTERESTS FROM THE 60-SECOND ORAL â€Å"BIOGRAPHY† THAT YOU WILL PRESENT. SUGGEST THAT STUDENTS TAKE NOTES; AS YOU SPEAK, THEY SHOULD RECORD WHAT THEY THINK ARE THE MOST IMPORTANT FACTS YOU SHARE. WHEN YOU HAVE COMPLETED YOUR PRESENTATION, TELL STUDENTS THAT YOU ARE GOING TO TELL FIVE THINGS ABOUT YOURSELF. FOUR OF YOUR STATEMENTS SHOULD TELL THINGS THAT ARE TRUE AND THAT WERE PART OF YOUR PRESENTATION; ONE OF THE FIVE STATEMENTS IS A TOTAL FIB. (THIS ACTIVITY IS MOST FUN IF SOME OF THE TRUE FACTS ARE SOME OF THE MOST SURPRISING THINGS ABOUT YOU AND IF THE â€Å"FIB† SOUNDS LIKE SOMETHING THAT COULD VERY WELL BE TRUE. ) TELL STUDENTS THEY MAY REFER TO THEIR NOTES TO TELL WHICH STATEMENT IS THE FIB. NEXT, INVITE EACH STUDENT TO CREATE A BIOGRAPHY AND A LIST OF FIVE STATEMENTS — FOUR FACTS AND ONE FIB — ABOUT HIMSELF OR HERSELF. THEN PROVIDE EACH STUDENT A CHANCE TO PRESENT THE 60-SECOND ORAL BIOGRAPHY AND TO TEST THE OTHERS’ NOTE-TAKING ABILITIES BY PRESENTING HIS OR HER OWN â€Å"FACT OR FIB QUIZ. â€Å" YOU CAN HAVE STUDENTS DO THIS PART OF THE ACTIVITY IN SMALL GROUPS. 14. CIRCULAR FACT OR FIB? HERE’S A VARIATION ON THE PREVIOUS ACTIVITY: DIVIDE THE CLASS INTO TWO GROUPS OF EQUAL SIZE. ONE GROUP FORMS A http://www. ToLearnEnglish. com – http://www. ToLearnFrench. com – Spanish : http://www. espagnolfacile. com/english – German: http://www. allemandfacile. com/english CIRCLE EQUALLY SPACED AROUND THE PERIMETER OF THE CLASSROOM. (THERE WILL BE QUITE A BIT OF SPACE BETWEEN STUDENTS. ) THE OTHER GROUP OF STUDENTS FORMS A CIRCLE INSIDE THE FIRST CIRCLE; EACH STUDENT FACES ONE OF THE STUDENTS IN THE FIRST GROUP. GIVE THE FACING PAIRS OF STUDENTS TWO MINUTES TO SHARE THEIR 60-SECOND ORAL â€Å"BIOGRAPHIES. â€Å" WHILE EACH STUDENT IS TALKING, THE PARTNER TAKES NOTES. AFTER EACH PAIR COMPLETES THE ACTIVITY, THE STUDENTS ON THE INSIDE CIRCLE MOVE CLOCKWISE TO FACE THE NEXT STUDENT IN THE OUTER CIRCLE. (STUDENTS IN THE  OUTER CIRCLE REMAIN STATIONARY THROUGHOUT THE ACTIVITY. ) WHEN ALL STUDENTS HAVE HAD AN OPPORTUNITY TO SHARE THEIR BIOGRAPHIES WITH ONE ANOTHER, ASK STUDENTS TO TAKE TURNS EACH SHARING HIS OR HER FACTS AND FIB WITH THE CLASS. THE OTHER STUDENTS REFER TO THEIR NOTES OR TRY TO RECALL WHICH FACT IS REALLY A FIB. 15. PEOPLE POEMS. HAVE EACH CHILD USE THE LETTERS IN HIS OR HER NAME TO CREATE AN ACROSTIC POEM. FOR EXAMPLE, BILL COULD TAKE HIS NAME AND WRITE BIG INTELLIGENT LAUGHING LOVING. TELL STUDENTS THEY MUST INCLUDE WORDS THAT TELL SOMETHING ABOUT THEMSELVES — FOR EXAMPLE, SOMETHING THEY LIKE TO DO OR A PERSONALITY  OR PHYSICAL TRAIT. INVITE STUDENTS TO SHARE THEIR POEMS WITH THE CLASS. THIS ACTIVITY IS A FUN ONE THAT ENABLES YOU TO LEARN HOW YOUR STUDENTS VIEW THEMSELVES. ALLOW OLDER STUDENTS TO USE A DICTIONARY OR THESAURUS. YOU MIGHT ALSO VARY THE NUMBER OF WORDS FOR EACH LETTER, ACCORDING TO THE STUDENTS’ GRADE LEVELS. 16. ANOTHER POETIC INTRODUCTION. ASK STUDENTS TO USE THE FORM BELOW TO CREATE POEMS THAT DESCRIBE THEM. NAME ______________________ TITLE (OF POEM)_______________ I WILL NEVER _______________; I WILL NEVER ________________; AND I WILL NEVER ______________. BUT I WILL ALWAYS ______________. THIS ACTIVITY IS ANOTHER THAT LENDS ITSELF TO BEING DONE AT THE BEGINNING OF THE SCHOOL YEAR AND AGAIN AT THE END OF THE YEAR. YOU AND YOUR STUDENTS WILL HAVE FUN COMPARING THEIR RESPONSES AND SEEING HOW THE STUDENTS AND THE RESPONSES HAVE CHANGED. 17. FOOD FOR THOUGHT. TO GET TO KNOW STUDENTS AND TO HELP THEM GET TO KNOW ONE ANOTHER, HAVE EACH STUDENT STATE HIS OR HER NAME AND A FAVORITE FOOD THAT BEGINS WITH THE SAME FIRST LETTER AS THE NAME. FOR EXAMPLE: â€Å"HI, MY NAME IS LATRECE, AND I LIKE LIVER. † AS EACH STUDENT INTRODUCES HIMSELF OR HERSELF, HE OR SHE MUST REPEAT THE NAMES AND FAVORITE FOODS OF THE STUDENTS WHO CAME BEFORE. WATCH OUT; IT GETS TRICKY FOR THE LAST PERSON WHO HAS TO RECITE ALL THE NAMES AND FOODS! 18. I AM NOT! HERE’S A CHALLENGING ACTIVITY THAT MIGHT HELP HIGH SCHOOL TEACHERS LEARN ABOUT STUDENTS’ ABILITIES TO THINK CRITICALLY. SEND STUDENTS INTO THE SCHOOL HALLWAYS OR SCHOOLYARD, AND ASK EACH TO FIND SOMETHING THAT â€Å"IS COMPLETELY THE OPPOSITE OF YOURSELF. â€Å" (OPTION: TO WIDEN THE AREA TO BE EXPLORED, PROVIDE THIS ACTIVITY AS HOMEWORK ON THE FIRST NIGHT OF SCHOOL. ) WHEN STUDENTS BRING THEIR ITEMS BACK TO CLASS, ASK EACH TO DESCRIBE WHY THE ITEM IS NOT LIKE HE OR SHE. YOU’LL GET A LOT OF FLOWERS, OF COURSE, AND STUDENTS WILL  DESCRIBE HOW THOSE FLOWERS ARE FRAGRANT OR SOFT (OR OTHERWISE UNLIKE THEMSELVES). BUT YOU MIGHT ALSO GET SOME CLEVER RESPONSES SUCH AS THE ONE FROM A YOUNG MAN WHO BROUGHT IN THE FLIP-TOP FROM A DISCARDED CAN; HE TALKED ABOUT ITS DECAYING OUTWARD APPEARANCE AND ITS INABILITY TO SERVE A PURPOSE WITHOUT BEING MANIPULATED BY SOME OTHER FORCE (AND HOW HE WAS ABLE TO SERVE A PURPOSE ON HIS OWN). 19. PERSONAL BOXES. IN THIS ACTIVITY, EACH STUDENT SELECTS A CONTAINER OF A REASONABLE SIZE THAT REPRESENTS SOME ASPECT OF HIS OR HER PERSONALITY OR PERSONAL INTERESTS (SUCH AS A FOOTBALL HELMET OR A SAUCEPAN). ASK STUDENTS TO FILL THAT OBJECT WITH OTHER ITEMS THAT REPRESENT THEMSELVES — FOR EXAMPLE, FAMILY PHOTOS, CDS, DIRTY SOCKS (BECAUSE THEIR ROOM AT HOME IS ALWAYS A MESS), OR A BALLET SHOE — AND BRING THEIR CONTAINERS BACK TO SCHOOL. STUDENTS CAN USE THE OBJECTS IN THE CONTAINERS AS PROPS AS THEY GIVE A THREE-MINUTE PRESENTATION ABOUT THEMSELVES. (THE TEACHER WHO PROVIDED THIS IDEA SUGGESTS THAT YOU MODEL THE ACTIVITY AND ENCOURAGE CREATIVITY BY GOING FIRST — IT’S IMPORTANT FOR THEM TO SEE YOU AS HUMAN TOO! SHE INCLUDED IN HER CONTAINER A WOODEN SPOON BECAUSE SHE LOVES TO  COOK, A JAR OF DIRT BECAUSE SHE LOVES TO GARDEN, HER SON’S FIRST COWBOY BOOT, A POEM SHE WROTE, A ROCK FROM ITALY BECAUSE SHE LOVES TO TRAVEL, AND SO ON. ) YOU’LL LEARN MUCH ABOUT EACH STUDENT WITH THIS ACTIVITY, AND IT WILL CREATE A BOND AMONG STUDENTS. AS EACH STUDENT GIVES THE PRESENTATION, YOU MIGHT WRITE A BRIEF THANK-YOU NOTE THAT MENTIONS SOMETHING SPECIFIC ABOUT THE PRESENTATION SO THAT EACH http://www. ToLearnEnglish. com – http://www. ToLearnFrench. com – Spanish : http://www. espagnolfacile. com/english – German: http://www. allemandfacile. com/english STUDENT CAN TAKE HOME A SPECIAL NOTE TO SHARE WITH PARENTS. IT MIGHT TAKE A FEW DAYS TO GIVE EVERY STUDENT THE OPPORTUNITY TO SHARE. 20. FOLLOWING DIRECTIONS. HOW WELL DO YOUR STUDENTS FOLLOW DIRECTIONS? PROVIDE INSTRUCTIONS FOR FOLDING A DRINKING CUP FROM A PIECE OF PAPER, AND SEE HOW MANY STUDENTS CAN MAKE A CUP. YOU CAN USE THE PRINTABLE TEMPLATE AND INSTRUCTIONS AT THE ORIGAMI JAPANESE PAPER FOLDING WEB PAGE. FILL EACH COMPLETE CUP WITH APPLE JUICE TO SEE HOW MANY STUDENTS CORRECTLY FOLLOWED THE DIRECTIONS! (YOU MIGHT WANT TO CONDUCT THIS PARTICULAR ASSESSMENT ON THE PLAYGROUND, HOWEVER! ) 21. LEARNING STYLES SURVEY. HOW DO THE STUDENTS IN YOUR CLASS LEARN BEST? DO THEY LEARN BY SEEING, HEARING, OR DOING? INVITE STUDENTS TO DISCOVER THEIR MOST SUCCESSFUL LEARNING STRATEGIES BY TAKING THE MODALITY QUESTIONNAIRE PROVIDED BY THE CENTER FOR THE ADVANCEMENT OF LEARNING AT OHIO’S MUSKINGUM COLLEGE. 22. A WORLD OF CHANGE. ON THE FIRST DAY OF SCHOOL, PROVIDE STUDENTS WITH AN 11-INCH BY 17-INCH PIECE OF DRAWING PAPER. CHALLENGE STUDENTS TO DRAW A MAP OF THE WORLD AND LABEL AS MANY COUNTRIES AND BODIES OF WATER AS THEY CAN. COLLECT THE MAPS AND PUT THEM AWAY. AT THE END OF THE SCHOOL YEAR, REPEAT THE ACTIVITY. HAS A YEAR OF LESSONS FOCUSED ON WORLD GEOGRAPHY AND CURRENT EVENTS INCREASED YOUR  STUDENTS’ KNOWLEDGE OF THE WORLD? (IF THIS ACTIVITY ISN’T APPROPRIATE FOR YOU, WHY NOT SHARE IT WITH A SOCIAL STUDIES OR HISTORY TEACHER IN YOUR SCHOOL? ) 23. TIME CAPSULE. TURN EMPTY PRINGLES CANS OR PAPER TOWEL TUBES INTO MINIATURE TIME CAPSULES. ASK EACH CHILD TO CREATE A TIME CAPSULE THAT INCLUDES SUCH ITEMS AS A HANDWRITING SAMPLE, A HAND TRACING, A SELF PORTRAIT, AND SO ON. AT THE END OF THE SCHOOL YEAR, COMPARE SAMPLES FROM THE BEGINNING OF THE YEAR WITH NEW SAMPLES. 24. A VIDEO KEEPSAKE. AT THE START OF THE SCHOOL YEAR, OR BEFORE SCHOOL STARTS, IF POSSIBLE, PROVIDE PARENTS WITH A LIST OF SUPPLIES TO SEND TO SCHOOL WITH THEIR CHILDREN. INCLUDE ON THE LIST A BLANK VIDEOTAPE FOR EACH STUDENT. AT LEAST ONCE A MONTH, INVITE A PARENT VOLUNTEER TO COME IN AND VIDEOTAPE EACH STUDENT READING ALOUD FROM A FAVORITE BOOK. SEND THE VIDEOTAPES HOME AT THE END OF THE YEAR AS A MEMENTO AND AS A REMINDER OF THE READING GROWTH THAT HAPPENED DURING THE COURSE OF THE YEAR. 25. STICKS AND STONES†¦ THIS SIMPLE ACTIVITY HAS BEEN MAKING THE ROUNDS OF MAILING LISTS RECENTLY: PROVIDE EACH STUDENT WITH A SMALL PAPER CUTOUT IN THE SHAPE OF A HUMAN, OR HAVE STUDENTS CUT OUT THEIR OWN PAPER FIGURES. ASK EACH STUDENT TO WRITE HIS OR HER NAME ON THE CUTOUT. HAVE STUDENTS FORM A CIRCLE. THEN TELL STUDENTS TO PASS THE CUTOUTS TO THE PERSON ON THEIR RIGHT. AS THE CUTOUTS ARE PASSED AROUND THE CIRCLE, HAVE EACH PERSON MAKE A SMALL CRUMPLE OR TEAR IN THE CUTOUT OR ADD A PENCIL MARK. WHEN THE CUTOUTS HAVE MADE THEIR WAY AROUND THE ENTIRE CIRCLE, HAVE STUDENTS TRY TO REPAIR THEIR OWN CUTOUTS BY FLATTENING, ERASING, OR TAPING. AFTER THE CUTOUTS ARE REPAIRED, DISCUSS THE ACTIVITY. TALK ABOUT THE EFFECTS OF UNKIND WORDS AND HURT FEELINGS. YOU MIGHT DISPLAY THE CUTOUTS ON A CLASSROOM BULLETIN BOARD AS A CONSTANT REMINDER OF THE EFFECTS OF HURTFUL ACTIONS. 26. ILLUSTRATED STUDENT REFLECTIONS. STUDENTS IN MIDDLE SCHOOL AND ABOVE CAN REFLECT ON THEIR DREAMS AND ACCOMPLISHMENTS WITH THIS FIRST DAY OF SCHOOL ACTIVITY PROVIDED BY AN INDIANA TEACHER. A SIMPLE ILLUSTRATION PROVIDES A BACKDROP STUDENTS CAN USE TO SHARE THEIR DREAMS, THEIR INTERESTS, AND THE HIGH AND LOW POINTS IN THEIR LIVES. THE ACTIVITY CAN PROVIDE TEACHERS WITH IMPORTANT INFORMATION ABOUT STUDENTS’ INTERESTS, CONCERNS, AND GOALS; TEACHERS CAN USE THE INFORMATION TO DETERMINE HOW BEST TO DIRECT STUDENTS AND PROVIDE FOR THEIR INDIVIDUAL NEEDS. I Wish I Were a Butterfly. Students across the grades will enjoy this book, written by James Howe and illustrated by Ed Young. A CRICKET LONGS TO BE A PRETTY BUTTERFLY UNTIL A SPIDER TEACHES HER THAT ALL FRIENDS ARE BEAUTIFUL. READ THE BOOK ALOUD, AND THEN DISCUSS THE STORY’S MESSAGE. 27. SURVEYS AND GRAPHS. START THE YEAR WITH A SURVEY ACTIVITY IN WHICH STUDENTS GET TO KNOW ONE ANOTHER AS THEY CREATE SIMPLE BAR OR PICTURE GRAPHS. STUDENTS WORK IN PAIRS OR SMALL GROUPS TO COLLECT RESPONSES TO A CLASS SURVEY, AND THEN THEY GRAPH THE RESULTS. OLDER STUDENTS CAN DEVELOP THEIR OWN SURVEY QUESTIONS; YOUNGER STUDENTS MIGHT COLLECT DATA IN RESPONSE TO QUESTIONS PROVIDED BY THE TEACHER. QUESTIONS MIGHT INCLUDE THE FOLLOWING: †¢ WHEN YOU BRING LUNCH TO SCHOOL, HOW DO YOU CARRY IT? †¢ IF YOU WERE TO CARRY A THERMOS BOTTLE TO SCHOOL, WHAT WOULD BE IN IT? †¢ WHAT IS YOUR FAVORITE SANDWICH? †¢ HOW DO YOU GET TO SCHOOL MOST DAYS? †¢ WHAT IS YOUR BEST SUBJECT IN SCHOOL? †¢ HOW MANY MILES DO YOU LIVE FROM SCHOOL? †¢ WHAT IS YOUR FAVORITE SNACK? http://www. ToLearnEnglish. com – http://www. ToLearnFrench. com – Spanish : http://www. espagnolfacile. com/english – German: http://www. allemandfacile. com/english †¢ WHAT WAS YOUR FAVORITE SUMMER MOVIE? AFTER STUDENTS COLLECT THE DATA, THEY CREATE A SIMPLE GRAPH TO DISPLAY THE RESULTS OF THEIR SURVEY. ONE STUDENT IN EACH PAIR OR GROUP CAN THEN REPORT THE FINDINGS WHILE ANOTHER EXPLAINS THE GRAPH. DISPLAY THE GRAPHS ON A BULLETIN BOARD FOR ALL TO SEE! 28. AN AVERAGE DAY. CHALLENGE STUDENTS TO COMPUTE CLASS â€Å"AVERAGES. † HAVE STUDENTS WORK IN PAIRS OR SMALL GROUPS TO COLLECT, CALCULATE, AND REPORT ON THE AVERAGE AGE, SHOE SIZE, HEIGHT, FAMILY SIZE (AND SO ON! ) OF THE STUDENTS IN YOUR CLASS. 29. PERSONALIZED CLASSROOM CALENDAR. EVERY CLASSROOM HAS A CALENDAR. WHY NOT PERSONALIZE YOUR CLASSROOM CALENDAR WITH PHOTOGRAPHS OF YOUR STUDENTS? FIRST, MAKE A CALENDAR POCKET CHART WITH SEVEN COLUMNS (ONE FOR EACH DAY OF THE WEEK) AND FIVE ROWS  (SO THE CHART CAN HANDLE MONTHS WITH FIVE WEEKS). THEN HAVE STUDENTS MAKE SIGNS WITH THE NUMBERS 1 TO 31 ON THEM. THE NUMBERS SHOULD BE LARGE ENOUGH TO BE CLEARLY SEEN FROM A DISTANCE. USE A DISPOSABLE CAMERA TO TAKE A PICTURE OF EACH STUDENT HOLDING ONE OF THE NUMBERED SIGNS. SLIP THE PHOTOGRAPHS INTO THE POCKETS ON THE CALENDAR. CHANGE THE CALENDAR EACH MONTH! BACK-TO-SCHOOL ABC BOOK. THIS IS AN ACTIVITY THAT CAN BE DONE ACROSS THE GRADES! SHARE WITH STUDENTS SOME ABC BOOKS FROM THE SCHOOL OR TOWN LIBRARY AND TELL THEM THAT THEY WILL BE WORKING TOGETHER TO CREATE A BACK-TO-SCHOOL ABC BOOK. ASSIGN A LETTER OF THE ALPHABET TO EACH STUDENT. BRAINSTORM WITH STUDENTS POSSIBLE WORDS FOR EACH LETTER OR ALLOW EACH STUDENT TO CHOOSE HIS OR HER OWN WORD. EXPLAIN THAT THE WORDS MUST BE RELATED TO ACTIVITIES ASSOCIATED WITH SCHOOL. OF COURSE, THE DIFFICULTY OF THE WORDS WILL VARY, DEPENDING ON THE GRADE LEVEL OF THE STUDENTS. FOR EXAMPLE, A MIGHT BE REPRESENTED BY THE WORDS ART, ABACUS, ATTENDANCE, ALGEBRA, ADDITION, ADVISOR, ATHLETICS, AUDITORIUM, ALPHABET, ANSWER KEY, APPLE, ARITHMETIC, ANNOUNCEMENT, AWARD, A-V, AIDE, OR ASSISTANT PRINCIPAL. FINALLY, HAVE EACH STUDENT ILLUSTRATE HIS OR HER WORD. COMBINE THE PICTURES TO CREATE A BOOK. DISPLAY THE BOOK IN THE CLASSROOM OR SCHOOL LIBRARY. AS AN EXTRA CHALLENGE, YOU MIGHT LIMIT OLDER STUDENTS TO CHOOSING ADJECTIVES; NO NOUNS ALLOWED! BACK-TO-SCHOOL WORD SEARCH. PRINT A BACK-TO-SCHOOL WORD SEARCH AND CHALLENGE STUDENTS TO FIND THE SCHOOL-RELATED WORDS HIDDEN IN THE PUZZLE. OR CREATE YOUR OWN WORD SEARCH PUZZLE CONTAINING THE FIRST NAMES OF ALL THE STUDENTS IN YOUR CLASS. GO TO PUZZLEMAKER. COM’S WORD SEARCH PUZZLEMAKER TO CREATE YOUR PUZZLE. 30. Making An Important Book †¦ ON THE FIRST DAY OF SCHOOL I READ THE IMPORTANT BOOK BY MARGARET WISE BROWN. I REVIEW PARAGRAPH WRITING AND INSTRUCT THEM TO WRITE A PARAGRAPH FOLLOWING THE SAME FORMAT AS THE BOOK ABOUT THEMSELVES. I ALSO DO THE SAME. AFTER THE ROUGH DRAFTS ARE WRITTEN THEY ARE TO DO A FINAL DRAFT AND ATTACH IT TO A WHITE PIECE OF PAPER, WHERE THEY ADD AN ILLUSTRATION. ALL THE PAGES ARE LAMINATED AND BOUND INTO A BOOK. STUDENTS REREAD THIS BOOK THROUGHOUT THE YEAR. IT EASILY BECOMES A FAVORITE. STUDENTS ALSO ENJOY READING THE BOOK FROM THE PREVIOUS YEARS CLASSES. 31. Names Word Search †¦ IN ORDER FOR MY STUDENTS TO GET TO KNOW THEIR CLASSMATES, I CREATE A WORD SEARCH WITH THE NAMES OF MY STUDENTS. AFTER ALL THE NAMES ARE FOUND THE REMAINING LETTERS REVEAL THE HIDDEN MESSAGE â€Å"WELCOME BACK TO SCHOOL. † THIS WEBSITE IS GREAT FOR CREATING VARIOUS TYPES OF PUZZLES HTTP://WWW. PUZZLEMAKER. COM 32. â€Å"Me† Puppets†¦ ON THE FIRST DAY OF SCHOOL (UNLIKE THE REMAINING DAYS OF THE SCHOOL YEAR), THE CHILDREN ARE USUALLY RELUCTANT TO TALK ABOUT THEMSELVES. WE MAKE â€Å"ME† PUPPETS USING PAPER PLATES FOR THE HEAD, YARN FOR THE HAIR, AND CONSTRUCTION PAPER FACIAL FEATURES, WITH A POPSCICLE STICK FOR A HANDLE. UPON COMPLETION, WE STAGE A PUPPET SHOW. THE CHILDREN HIDE THEIR FACES WITH THE PUPPETS AND TELL THEIR CLASSMATES ALL  ABOUT THEIR FAMILIES, HOBBIES, PETS, ETC. 33. First Day Name Puzzle†¦ ON THE FIRST DAY OF SCHOOL, I LIKE TO MAKE A NAME PUZZLE WITH MY STUDENTS. I TAKE A LARGE PIECE OF POSTER BOARD, AND MARK OUT LINES THAT CAN BE CUT INTO PIECES. MAKE SURE THAT THE PUZZLE WILL HAVE ENOUGH PIECES FOR EACH STUDENT TO HAVE ONE. WE ALL GATHER ON THE FLOOR TO WRITE OUR NAME ON THE BLANK SIDE OF THE POSTER BOARD. I WRITE MY NAME IN THE MIDDLE, AND THE STUDENTS WRITE THEIR NAME IN ALL DIFFERENT DIRECTIONS. WHEN I HAVE FREE TIME, I CUT THE BOARD INTO PUZZLE PIECES. AS A CLASS WE EACH FIND THE SPOT WHERE OUR PUZZLE PIECE BELONGS. TAPE THE PUZZLE TOGETHER AFTER SCHOOL, AND POST IT ON THE WALL IN THE CLASSROOM. WHEN THE STUDENTS RETURN THE NEXT DAY, THE WILL BE EXCITED TO SEE THE PUZZLE, AND TO SHOW OFF THEIR NAME. MY KIDS HAVE FUN TALKING AND, WORKING TO PUT THE PUZZLE TOGETHER. 34. First day (or week) of school–Family Wreath†¦ I COLLECTED FAMILY PICTURES OF EACH OF MY STUDENTS DURING OUR INTRODUCTION DAY. I TOLD THE FAMILY I WOULD PROBABLY NOT RETURN THESE PICTURES. I THEN TOOK THE PICTURES AND MADE A â€Å"FAMILY WREATH†, FOR THE LONELY DAYS OR WHEN THE STUDENTS JUST MISSED HOME. THIS WAS A  HUGE HIT WITH ALL THE FAMILIES AND THE CHILDREN. I PLACED THE WREATH IN THE HOME LIVING AREA, AND WAS AMAZED TO SEE THE STUDENTS, ALL YEAR http://www. ToLearnEnglish. com – http://www. ToLearnFrench. com – Spanish : http://www. espagnolfacile. com/english – German: http://www. allemandfacile. com/english LONG, GO OVER TO THE WREATH AND TAKE TIME TO ADMIRE IT AND THEIR FAMILY. (SOME FAMILIES INCLUDED PET PICTURES TO PUT ON THE WREATH). ON THE LAST DAY OF SCHOOL I AUCTIONED IT OFF TO A FAMILY AND BOUGHT SUPPLIES FOR THE CLASS ROOM. ALL MY PARENTS WANTED THIS â€Å"KEEPSAKE†. 35. Getting Acquainted.. I LIKE TO HAVE SOME GET ACQUAINTED PROJECTS FOR THE FIRST FEW DAYS. ONE THING I DO IS WHEN I SEND MY PARENTS A WELCOMING LETTER, I ASK THAT THE CHILDREN BRING IN A SMALL BAG OF PICTURES AND OTHER SMALL OBJECTS THAT COULD BE PART OF A â€Å"ME† COLLAGE. THESE COLLAGES ARE A GOOD SPRINGBOARD FOR THE CHILDREN TO DISCUSS THEIR UNIQUE QUALITIES, AND AT THE END OF THE YEAR, THEY ENJOY SEEING HOW THEY HAVE CHANGED. WE ALSO MAKE SCHOOLHOUSE PICTURE FRAMES FOR THEIR FIRST DAY OF SCHOOL PHOTOS. I CUT SCHOOLHOUSES OUT OF OAKTAG, AND THE CHILDREN GLUE PASTA ON THE FRAMES. I SPRAY PAINT THE PASTA FRAMES GOLD. THE PARENTS LOVE HAVING THIS MEMENTO OF THEIR CHILD’S FIRST DAY WHEN I GIVE IT TO THEM ON BACK-TO-SCHOOL NIGHT. 36. Getting to Know Each Other .. ON THE FIRAT DAY OF SCHOOL DO AN ACTIVITY TO BRING THE CLASS TOGETHER SUCH AS A CLASSROOM SURVEY. THE STUDENTS WALK AROUND AND TALK TO THE OTHER STUDENTS AND FILL OUT A QUESTIONAIRRE. AT THE SAME TIME THEY ARE GETTING TO KNOW EACH OTHER. 37. Fun First Day Activity .. ON THE FIRST DAY OF SCHOOL I HAVE PLENTY OF PRE-CUT LETTERS IN LOTS OF DIFFERENT COLORS ON A TABLE. AS THE CHILDREN COME IN THEY FIND THE LETTERS TO SPELL THEIR NAMES AND GLUE THEM TOGETHER. I HANG THESE FROM THE CEILING! THEY REALLY BRIGHTEN UP THE ROOM AND LOOK GREAT FOR OPEN HOUSE! USUALLY THIS IS THE FIRST THING THEY POINT OUT TO THEIR PARENTS. 38. What are your expectations? ASK FOR THEIR EXPECTATIONS. TELL THEM YOU’RE INTERESTED IN THEIR OPINIONS AND YOU’RE ASKING THEM THESE QUESTIONS AS A WAY OF FINDING OUT ABOUT THEIR LEARNING STYLES AND PREFERENCES. ASK THEM TO WRITE, USING AS MUCH DETAIL AS POSSIBLE, THEIR RESPONSES TO QUESTIONS, SUCH AS †¢ NOW THAT I’VE TOLD YOU MY EXPECTATIONS OF A GOOD STUDENT, WHAT ARE YOUR EXPECTATIONS OF A GOOD TEACHER? †¢ TELL ME ABOUT THE BEST TEACHER YOU’VE EVER HAD. WHAT MADE THAT PERSON SUCH A GOOD TEACHER? †¢ NOW THAT I’VE TOLD YOU SOME OF MY IDEAS ABOUT HOW WE WILL GO ABOUT LEARNING THIS YEAR’S MATERIAL, TELL ME ABOUT HOW YOU LEARN BEST. GIVE ME AN EXAMPLE OF A PROJECT OR UNIT WHERE YOU LEARNED A LOT. DESCRIBE THE PROJECT IN DETAIL. 39. TIME CAPSULES: A TIME-PROVEN YEAR OPENER I GIVE EACH STUDENT A SHEET WITH QUESTIONS SUCH AS WHAT’S YOUR FAVORITE TV SHOW? WHAT’S YOUR FAVORITE SONG? AND WHAT’S YOUR FAVORITE BOOK? ON IT. THERE’S A SPACE FOR STUDENTS TO ANSWER THE QUESTIONS AT THE BEGINNING OF THE YEAR AND ANOTHER SPACE FOR THEM TO ANSWER THE SAME QUESTIONS AT THE END OF THE YEAR. â€Å"AFTER STUDENTS PUT THEIR ANSWERS IN THE FIRST BLANK, I TIE ALL THE SHEETS TOGETHER AND PUT THEM IN MY FILE CABINET,† BRIGHT TOLD EDUCATION WORLD. â€Å"IT’S ALWAYS FUNNY AT THE END OF THE YEAR TO HEAR THEM LAUGHING AND SCREECHING OVER THEIR ANSWERS FROM THE BEGINNING OF THE YEAR. THEY ALWAYS CHANGE THEIR MINDS BY THE END OF THE YEAR! † BEGINNING-OF-THE-YEAR TIME CAPSULES CAN INCLUDE MANY OTHER ITEMS TOO. IN ADDITION TO STUDENTS’ QUESTION SHEETS, THEIR INDIVIDUAL TIME CAPSULES MIGHT ALSO INCLUDE A. TRACING OF THEIR HAND, A PIECE OF YARN CUT TO MEASURE THEIR HEIGHT, AND A WRITING SAMPLE. SEALED THE ITEMS IN ENVELOPES, AND OPEN THEM AT THE END OF THE SCHOOL YEAR. STUDENTS WILL SURELY BE AMAZED AT THEIR GROWTH — PHYSICALLY AND ACADEMICALLY! FOR THAT TIME CAPSULE WRITING SAMPLE, YOU MIGHT USE ANOTHER OF BRIGHT’S FAVORITE BEGINNING-OF-SCHOOL ACTIVITIES. â€Å"I HAVE STUDENTS INTERVIEW EACH OTHER LIKE NEWSPAPER REPORTERS SOMETIME DURING THE FIRST WEEK OF SCHOOL,† BRIGHT EXPLAINED. â€Å"THEY HAVE TO ASK A PARTNER FIVE QUESTIONS AND USE THOSE ANSWERS TO WRITE A PARAGRAPH ABOUT THEIR PARTNER. THEN THEY INTRODUCE THEIR PARTNER TO THE CLASS BY READING THE INTERVIEWS. † 40. THESE ARE A FEW OF MY FAVORITE THINGS INVITING STUDENTS TO SHARE A FEW OF THEIR FAVORITE THINGS IS A GREAT WAY TO BREAK THE ICE! INTRODUCE AN OVERHEAD TRANSPARENCY ON WHICH YOU HAVE ALL KINDS OF PICTURES THAT â€Å"DESCRIBE† YOURSELF. THERE’S A PLANE, LOTS OF BOOKS, A HILL, AND MORE. INVITE YOUR STUDENTS TO GUESS FROM THE DRAWINGS WHAT YOUR FAVORITE OUTSIDE INTERESTS MIGHT BE. (DID YOU GUESS TRAVELING, READING, AND HIKING? ). GIVE EACH STUDENT A SHEET OF DRAWING PAPER AND ASK THEM TO TELL ME ABOUT THEMSELVES — USING ONLY  PICTURES. BREAK INTO SMALL COOPERATIVE GROUPS, AND EACH GROUP TRIES TO TELL ABOUT THE PEOPLE IN THEIR GROUP. OF COURSE, WALK AROUND AND INTERACT WITH EACH GROUP TO KNOW THEM TOO. † 41. MAKE A LARGE CHART TITLED GETTING TO KNOW YOU. LAMINATE THE CHART AND HANG IT ON A WALL IN YOUR CLASSROOM. THE CHART HAS SECTIONS FOR EACH STUDENT’S NAME AND INTERESTING FACTS, SUCH AS HOW MANY PEOPLE ARE IN THEIR FAMILY, HOW MANY PETS THEY HAVE, THEIR FAVORITE http://www. ToLearnEnglish. com – http://www. ToLearnFrench. com – Spanish : http://www. espagnolfacile. com/english – German:

Historiographic Metafiction Essay

The frontiers of a book are never clear-cut: beyond the title, the first lines, and the last full-stop, beyond its internal configuration and its autonomous form, it is caught up in a system of references to other books, other texts, other sentences: it is a node within a network. -Foucault What we tend to call postmodernism in literature today is usually characterized by intense self-reflexivity and overtly parodic intertextuality. In fiction this means that it is usually metafiction that is equated with the postmodern. Given the scarcity of precise definitions of this problematic period designation, such an equation is often accepted without question. What I would like to argue is that, in the interests of precision and consistency, we must add something else to this definition: an equally self-conscious dimension of history. My model here is postmodern architecture, that resolutely parodic recalling of the history of architectural forms and functions. The theme of the 1980 Venice Biennale, which introduced postmodernism to the architectural world, was â€Å"The Presence of the Past. † The term postmodernism, when used in fiction, should, by analogy, best be reserved to describe fiction that is at once metafictional and historical in its echoes of the texts and contexts of the past. In order to distinguish this paradoxical beast from traditional historical fiction, I would like to label it â€Å"historiographic metafiction. † The category of novel I am thinking of includes One Hundred Years of Solitude, Ragtime, The French Lieutenant’s Woman, and The Name of the Rose. All of these are popular and familiar novels whose metafictional self-reflexivity (and intertextuality) renders their implicit claims to historical veracity somewhat problematic, to say the least. 3 LINDA HUTCHEON In the wake of recent assaults by literary and philosophical theory on modernist formalist closure, postmodern American fiction, in particular, has sought to open itself up to history, to what Edward Said (The World) calls the â€Å"world. † But it seems to have found that it can no longer do so in any innocent way: the certainty of direct reference of the historical novel or even the nonfictional novel is gone. So is the certainty of self-reference implied in the Borgesian claim that both literature and the world are equally fictive realities. The postmodern relationship between fiction and history is an even more complex one of interaction and mutual implication. Historiographic metafiction works to situate itself within historical discourse without surrendering its autonomy as fiction. And it is a kind of seriously ironic parody that effects both aims: the intertexts of history and fiction take on parallel (though not equal) status in the parodic reworking of the textual past of both the â€Å"world† and literature. The textual incorporation of these intertextual past(s) as a constitutive structural element of postmodernist fiction functions as a formal marking of historicity-both literary and â€Å"worldly. † At first glance it would appear that it is only its constant ironic signaling of difference at the very heart of similarity that distinguishes postmodern parody from medieval and Renaissance imitation (see Greene 17). For Dante, as for E. L. Doctorow, the texts of literature and those of history are equally fair game. Nevertheless, a distinction should be made: â€Å"Traditionally, stories were stolen, as Chaucer stole his; or they were felt to be the common property of a culture or community †¦ These notable happenings, imagined or real, lay outside language the way history itself is supposed to, in a condition of pure occurrence† (Gass 147). Today, there is a return to the idea of a common discursive â€Å"property† in the embedding of both literary and historical texts in fiction, but it is a return made problematic by overtly metafictional assertions of both history and literature as human constructs, indeed, as human illusions-necessary, but none the less illusory for all that. The intertextual parody of historiographic metafiction enacts, in a way, the views of certain contemporary historiographers (see Canary and Kozicki): it offers a sense of the presence of the past, but this is a past that can only be known from its texts, its traces-be they literary or historical. Clearly, then, what I want to call postmodernism is a paradoxical cultural phenomenon, and it is also one that operates across many traditional disciplines. In contemporary theoretical discourse, for instance, we find puzzling contradictions: those masterful denials of mastery, totalizing negations of totalization, continuous attest4 HISTORIOGRAPHIC METAFICTION ings of discontinuity. In the postmodern novel the conventions of both fiction and historiography are simultaneously used and abused, installed and subverted, asserted and denied. And the double (literary/historical) nature of this intertextual parody is one of the major means by which this paradoxical (and defining) nature of postmodernism is textually inscribed. Perhaps one of the reasons why there has been such heated debate on the definition of postmodernism recently is that the implications of the doubleness of this parodic process have not been fully examined. Novels like The Book of Daniel or The Public Burning-whatever their complex intertextual layering-can certainly not be said to eschew history, any more than they can be said to ignore either their moorings in social reality (see Graff 209) or a clear political intent (see Eagleton 61). Historiographic metafiction manages to satisfy such a desire for â€Å"worldly† grounding while at the same time querying the very basis of the authority of that grounding. As David Lodge has put it, postmodernism short-circuits the gap between text and world (239-4 0 ) . Discussions of postmodernism seem more prone than most to confusing self-contradictions, again perhaps because of the paradoxical nature of the subject itself. Charles Newman, for instance, in his provocative book The Post-Modern Aura, begins by defining postmodern art as a â€Å"commentary on the aesthetic history of whatever genre it adopts† (44). This would, then, be art which sees history only in aesthetic terms (57). However, when postulating an American version of postmodernism, he abandons this metafictional intertextual definition to call American literature a â€Å"literature without primary influences,† â€Å"a literature which lacks a known parenthood,† suffering from the â€Å"anxiety of non-influence† (87). As we shall see, an examination of the novels of Toni Morrison, E. L. Doctorow, John Barth, Ishmael Reed, Thomas Pynchon, and others casts a reasonable doubt on such pronouncements. On the one hand, Newman wants to argue that  postmodernism at large is resolutely parodic; on the other, he asserts that the American postmodern deliberately puts â€Å"distance between itself and its literary antecedents, an obligatory if occasionally conscience-stricken break with the past† (172). Newman is not alone in his viewing of postmodern parody as a form of ironic rupture with the past (see Thiher 214), but, as in postmodernist architecture, there is always a paradox at the heart of that â€Å"post†: irony does indeed mark the difference from the past, but the intertextual echoing simultaneously works to affirm-textually and hermeneutically-the connection with the past. When that past is the literary period we now seem to label as 5 LINDA HUTCHEON modernism, then what is both instated and then subverted is the notion of the work of art as a closed, self-sufficient, autonomous object deriving its unity from the formal interrelations of its parts. In its characteristic attempt to retain aesthetic autonomy while still returning the text to the â€Å"world,† postmodernism both asserts and then undercuts this formalistic view. But this does not necessitate a return to the world of â€Å"ordinary reality,† as some have argued (Kern 216); the â€Å"world† in which the text situates itself is the â€Å"world† of discourse, the â€Å"world† of texts and intertexts. This â€Å"world† has direct links to the world of empirical reality, but it is not itself that empirical reality. It is a contemporary critical truism that realism is really a set of conventions, that the representation of the real is not the same as the real itself. What historiographic metafiction challenges is both any naive realist concept of representation and any equally naive textualist or formalist assertions of the total separation of art from the world. The postmodern is selfconsciously art â€Å"within the archive† (Foucault 92), and that archive is both historical and literary. In the light of the work of writers such as Carlos Fuentes, Salman Rushdie, D. M. Thomas,John Fowles, Umberto Eco, as well as Robert Coover, E. L. Doctorow, John Barth, Joseph Heller, Ishmael Reed, and other American novelists, it is hard to see why critics such as Allen Thiher, for instance, â€Å"can think of no such intertextual foundations today† as those of Dante in Virgil (189)’ Are we really in the midst of a crisis of faith in the â€Å"possibility of historical culture† (189)? Have we ever not been in such a crisis? To parody is not to destroy the past; in fact, to parody is both to enshrine the past and to question it. And this is the postmodern paradox. The theoretical exploration of the â€Å"vast dialogue† (Calinescu, 169) between and among literatures and histories that configure postmodernism has, in part, been made possible by Julia Kristeva’s early reworking of the Bakhtinian notions of polyphony, dialogism, and heteroglossia-the multiple voicings of a text. Out of these ideas she developed a more strictly formalist theory of the irreducible plurality of texts within and behind any given text, thereby deflecting the critical focus away from the notion of the subject (here, the author) to the idea of textual productivity. Kristeva and her colleagues at Tel Quel in the late sixties and early seventies mounted a collective attack on the founding subject (alias: the â€Å"romantic† cliche of the author) as the original and originating source of fixed and fetishized meaning in the text. And, of course, this also put into question the entire notion of the â€Å"text† as an autonomous entity, with immanent meaning. 6 HISTORIOGRAPHIC METAFICTION In America a similar formalist impulse had provoked a similar attack much earlier in the form of the New Critical rejection of the â€Å"intentional fallacy† (Wimsatt). Nevertheless, it would seem that even though we can no longer talk comfortably of authors (and sources and influences), we still need a critical language in which to discuss those ironic allusions, those re-contextualized quotations, those double-edged parodies both of genre and of specific works that proliferate in modernist and postmodernist texts. This, of course, is where the concept of intertextuality has proved so useful. As later defined by Roland Barthes (Image 160) and Michael Riffaterre (142-43), intertextuality replaces the challenged authortext relationship with one between reader and text, one that situates the locus of textual meaning within the history of discourse itself. A literary work can actually no longer be considered original; if it were, it could have no meaning for its reader. It is only as part of prior discourses that any text derives meaning and significance. Not surprisingly, this theoretical  redefining of aesthetic value has coincided with a change in the kind of art being produced. Postmodernly parodic composer George Rochberg, in the liner notes to the Nonesuch recording of his String Quartet no. 3 articulates this change in these terms: â€Å"I have had to abandon the notion of ‘originality,’ in which the personal style of the artist and his ego are the supreme values; the pursuit of the one-idea, uni-dimensional work and gesture which seems to have dominated the esthetics of art in the aoth century; and the received idea that it is necessary to divorce oneself from the past. â€Å"In the visual arts too, the works of Shusaku Arakawa, Larry Rivers, Tom Wesselman, and others have brought about, through parodic intertextuality (both aesthetic and historical), a real skewing of any â€Å"romantic† notions of subjectivity and creativity. As in historiographic metafiction, these other art forms parodically cite the intertexts of both the â€Å"world† and art and, in so doing, contest the boundaries that many would unquestioningly use to separate the two. In its most extreme formulation, the result of such contesting would be a â€Å"break with every given context, engendering an infinity of new contexts in a manner which is absolutely illimitable† (Derrida 185). While postmodernism, as I am defining it here, is perhaps somewhat less promiscuously extensive, the notion of parody as opening the text up, rather than closing it down, is an important one: among the many things that postmodern intertextuality challenges are both closure and single, centralized meaning. Its willed and willful provisionality rests largely upon its acceptance of the inevitable textual infiltration of prior discursive 7 LINDA HUTCHEON practices. Typically contradictory, intertextuality in postmodern art both provides and undermines context. In Vincent B. Leitch’s terms, it â€Å"posits both an uncentered historical enclosure and an abysmal decentered foundation for language and textuality; in so doing, it exposes all contextualizations as limited and limiting, arbitrary and confining, self-serving and authoritarian, theological and political. However paradoxically formulated,  intertextuality offers a liberating determinism† (162). It is perhaps clearer now why it has been claimed that to use the term intertextuality in criticism is not just to avail oneself of a useful conceptual tool: it also signals a â€Å"prise de position, un champ de reference† (Angenot 122). But its usefulness as a theoreticalframework that is both hermeneutic and formalist is obvious in dealing with historiographic metafiction that demands of the reader not only the recognition of textualized traces of the literary and historical past but also the awareness of what has been done-through irony-to those traces. The reader is forced to acknowledge not only the inevitable textuality of our knowledge of the past, but also both the value and the limitation of that inescapably discursive form of knowledge, situated as it is â€Å"between presence and absence† (Barilli). halo Calvina’s Marco Polo in Invisible Cities both is and is not the historical Marco Polo. How can we, today, â€Å"know† the Italian explorer? We can only do so by way of texts-including his own (Il Milione) , from which Calvino parodically takes his frame tale, his travel plot, and his characterization (Musarra 141). Roland Barthes once defined the intertext as â€Å"the impossibility of living outside the infinite text† (Pleasure 36), thereby making intertextuality the very condition of textuality. Umberto Eco, writing of his novel The Name of the Rose, claims: â€Å"1 discovered what writers have always known (and have told us again and again): books always speak of other books, and every story tells a story that has already been told† (20). The stories that The Name of the Rose retells are both those of literature (by Arthur Conan Doyle, Jorge Luis Borges, James Joyce, Thomas Mann, T.S. Eliot, among others) and those of history (medieval chronicles, religious testimonies). This is the parodically doubled discourse of postmodernist intertextuality. However, this is not just a doubly introverted form of aestheticism: the theoretical implications of this kind of historiographic metafiction coincide with recent historiographic theory about the nature of history writing as narrativization (rather than representation) of the past and about the nature of the archive as the textualized remains of history (see White, â€Å"The Question†). 8 HISTORIOGRAPHIC METAFICTION In other words, yes, postmodernism manifests a certain introversion, a self-conscious turning toward the form of the act of writing itself; but it is also much more than that. It does not go so far as to â€Å"establish an explicit literal relation with that real world beyond itself,† as some have claimed (Kirernidjian 238). Its relationship to the â€Å"worldly† is still on the level of discourse, but to claim that is to claim quite a lot. After all, we can only â€Å"know† (as opposed to â€Å"experience†) the world through our narratives (past and present) of it, or so postmodernism argues. The present, as well as the past, is always already irremediably textualized for us (Belsey 46), and the overt intertextuality of historiographic metafiction serves as one of the textual signals of this postmodern realization. Readers of a novel like Kurt Vonnegut’s Slaughterhouse-Five do not have to proceed very far before picking up these signals. The author is identified on the title page as â€Å"a fourth-generation German-American now living in easy circumstances on Cape Cod (and smoking too much), who, as an American infantry scout hors de combat, as a prisoner of war, witnessed the fire-bombing of Dresden, Germany, ‘The Florence of the Elbe,’ a long time ago, and survived to tell the tale. This is a novel somewhat in the telegraphic schizophrenic manner of tales of the planet Tralfamadore, where the flying saucers come from. Peace. † The character, Kurt Vonnegut, appears in the novel, trying to erase his memories of the war and of Dresden, the destruction of which he saw from â€Å"Slaughterhouse-Five,† where he worked as a POW. The novel itself opens with: â€Å"All this happened, more or less. The war parts, anyway, are pretty much true† (7). Counterpointed to this historical context, however, is the (metafictionally marked) Billy Pilgrim, the optometrist who helps correct defective vision-including his own, though it takes the planet Tralfamadore to give him his new perspective. Billy’s fantasy life acts as an allegory of the author’s own displacements and postponements (i. e. , his other novels) that prevented him from writing about Dresden before this, and it is the intratexts of the novel that signal this allegory: Tralfamadore itself is from Vonnegut’s The Sirens of Titan, Billy’s home in Illium is from Player Piano, characters appear from Mother Night and God Bless You, Mr. Rosewater. The intertexts, however, function in similar ways, and their provenience is again double: there are actual historical intertexts (documentaries on Dresden, etc.), mixed with those of historical fiction (Stephen Crane, Celine). But there are also structurally and thematically connected allusions: to Hermann Hesse’s Journey to the East and to various works of science fiction. Popular 9 LINDA HUTCHEON and high-art intertexts mingle: Valley of the Dolls meets the poems of William Blake and Theodore Roethke. All are fair game and all get re-contextualized in order to challenge the imperialistic (cultural and political) mentalities that bring about the Dresdens of history. Thomas Pynchon’s V. uses double intertexts in a similarly â€Å"loaded† fashion to formally enact the author’s related theme of the entropic destructiveness of humanity. Stencil’s dossier, its fragments of the texts of history, is an amalgam of literary intertexts, as if to remind us that â€Å"there is no one writable ‘truth’ about history and experience, only a series of versions: it always comes to us ‘stencillized'† (Tanner 172). And it is always multiple, like V’s identity. Patricia Waugh notes that metafiction such as Slaughterhouse-Five or The Public Burning â€Å"suggests not only that writing history is a fictional act, ranging events conceptually through language to form a world-model, but that history itself is invested, like fiction, with interrelating plots which appear to interact independently of human design† (48-49). Historiographic metafiction is particularly doubled, like this, in its inscribing of both historical and literary intertexts. Its specific and general recollections of the forms and contents of history writing work to familiarize the unfamiliar through (very familiar) narrative structures (as Hayden White has argued [â€Å"The Historical Text,† 49-50]), but its metafictional selfreflexivity works to render problematic any such familiarization. And the reason for the sameness is that both real and imagined worlds come to us through their accounts of them, that is, through their traces, their texts. The ontological line between historical past and literature is not effaced (see Thiher 190), but underlined. The past really did exist, but we can only â€Å"know† that past today through its texts, and therein lies its connection to the literary. If the discipline of history has lost its privileged status as the purveyor of truth, then so much the better, according to this kind of modern historiographic theory: the loss of the illusion of transparency in historical writing is a step toward intellectual self-awareness that is matched by metafiction’s challenges to the presumed transparency of the language of realist texts. When its critics attack postmodernism for being what they see as ahistorical (as do Eagleton, Jameson, and Newman), what is being referred to as â€Å"postrnodern† suddenly becomes unclear, for surely historiographic metafiction, like postmodernist architecture and painting, is overtly and resolutely historical-though, admittedly, in an ironic and problematic way that acknowledges that history is not the transparent record of any sure â€Å"truth. † Instead, such fiction 10. HISTORIOGRAPHIC METAFICTION corroborates the views of philosophers of history such as Dominick LaCapra who argue that â€Å"the past arrives in the form of texts and textualized remainders-memories, reports, published writings, archives, monuments, and so forth† (128) and that these texts interact with one another in complex ways. This does not in any way deny the value of history-writing; it merely redefines the conditions of value in somewhat less imperialistic terms. Lately, the tradition of narrative history with its concern â€Å"for the short time span, for the individual and the event† (Braudel 27), has been called into question by the Annales School in France. But this particular model of narrative history was, of course, also that of the realist novel. Historiographic metafiction, therefore, represents a challenging of the (related) conventional forms of fiction and history through its acknowledgment of their inescapable textuality. As Barthes once remarked, Bouvard and Pecuchet become the ideal precursors of the postmodernist writer who â€Å"can only imitate a gesture that is always anterior, never original. His only power is to mix writings, to counter the ones with the others, in such a way as never to rest on any of them† (Irnage 146). The formal linking of history and fiction through the common denominators of intertextuality and narrativity is usually offered not as a reduction, as a shrinking of the  scope and value of fiction, but rather as an expansion of these. Or, if it is seen as a limitation-restricted to the always already narrated-this tends to be made into the primary value, as it is in Lyotard’s â€Å"pagan vision,† wherein no one ever manages to be the first to narrate anything, to be the origin of even her or his own narrative (78). Lyotard deliberately sets up this â€Å"limitation† as the opposite of what he calls the capitalist position of the writer as original creator, proprietor, and entrepreneur of her or his story. Much postmodern writing shares this implied ideological critique of the assumptions underlying â€Å"romantic† concepts of author and text, and it is parodic intertextuality that is the major vehicle of that critique. Perhaps because parody itself has potentially contradictory ideological implications (as â€Å"authorized transgression,† it can be seen as both conservative and revolutionary [Hutcheon 69-83]), it is a perfect mode of criticism for postmodernism, itself paradoxical in its conservative installing and then radical contesting of conventions. Historiographic metafictions, like Gabriel Garcia Marquez’s One Hundred Years of Solitude, Gunter Grass’s The Tin Drurn, or Salman Rushdie’s Midnight’s Children (which uses both of the former as intertexts), employ parody not only to restore history and memory in the face of the distortions of the â€Å"history of forgetting† (Thiher 11 LINDA HUTCHEON 202), but also, at the same time, to put into question the authority of any act of writing by locating the discourses of both history and fiction within an ever-expanding intertextual network that mocks any notion of either single origin or simple causality. When linked with satire, as in the work of Vonnegut, V. Vampilov, Christa Wolf, or Coover, parody can certainly take on more precisely ideological dimensions. Here, too, however, there is no direct intervention in the world: this is writing working through other writing, other textualizations of experience (Said Beginnings 237). In many cases intertextuality may well be too limited a term to describe this process; interdiscursivity would perhaps be a more accurate term for the collective modes of discourse from which the postmodern parodically draws: literature, visual arts, history, biography, theory, philosophy,  psychoanalysis, sociology, and the list could go on. One of the effects of this discursive pluralizing is that the (perhaps illusory but once firm and single) center of both historical and fictive narrative is dispersed. Margins and edges gain new value. The â€Å"ex-centric†-as both off-center and de-centeredgets attention. That which is â€Å"different† is valorized in opposition both to elitist, alienated â€Å"otherness† and also to the uniformizing impulse of mass culture. And in American postmodernism, the â€Å"different† comes to be defined in particularizing terms such as those of nationality, ethnicity, gender, race, and sexual orientation. Intertextual parody of canonical classics is one mode of reappropriating and reformulating-with significant changes-the dominant white, male, middle-class, European culture. It does not reject it, for it cannot. It signals its dependence by its use of the canon, but asserts its rebellion through ironic abuse of it. As Edward Said has been arguing recently (â€Å"Culture†), there is a relationship of mutual interdependence between the histories of the dominators and the dominated. American fiction since the sixties has been, as described by Malcolm Bradbury (186), particularly obsessed with its own pastliterary, social, and historical. Perhaps this preoccupation is (or was) tied in part to a need to fmd a particularly American voice within a culturally dominant Eurocentric tradition (D’haen 216). The United States (like the rest of North and South America) is a land of immigration. In E. L. Doctorow’s words, â€Å"We derive enormously, of course, from Europe, and that’s part of what Ragtime is about: the means by which we began literally, physically to lift European art and architecture and bring it over here† (in Trenner 58). This is also part of what American historiographic metafiction in general is â€Å"about. † Critics have discussed at length the parodic 12 HISTORIOGRAPHIC METAFICTION intertexts of the work of Thomas Pynchon, including Conrad’s Heart ofDarkness (McHale 88) and Proust’s first-person confessional form (Patteson 37-38) in V. In particular, The Crying of Lot 49 has been seen as directly linking the literary parody ofJacobean drama with the selectivity and subjectivity of what we deem historical â€Å"fact† (Bennett). Here the postmodern parody operates in much the same way as it did in the literature of the seventeenth century, and in both Pynchon’s novel and the plays he parodies (John Ford’s ‘Tis Pity She’s a Whore, John Webster’s The White Devil and The Duchess of Malfi, and Cyril Tourneur’s The Revenger’s Tragedy, among others), the intertextual â€Å"received discourse† is firmly embedded in a social commentary about the loss of relevance of traditional values in contemporary life (Bennett). Just as powerful and even more outrageous, perhaps, is the parody of Charles Dickens’ A Christmas Carol in Ishmael Reed’s The Terrible Twos, where political satire and parody meet to attack white Euro-centered ideologies of domination. Its structure of â€Å"A Past Christmas† and â€Å"A Future Christmas† prepares us for its initial Dickensian invocations-first through metaphor (â€Å"Money is as tight as Scrooge† [4]) and then directly: â€Å"Ebenezer Scrooge towers above the Washington skyline, rubbing his hands and greedily peering over his spectacles† (4). Scrooge is not a character, but a guiding spirit of 1980 America, one that attends the inauguration of the president that year. The novel proceeds to update Dickens’ tale. However, the rich are still cozy and comfortable (â€Å"Regardless of how high inflation remains, the wealthy will have any kind of Christmas they desire, a spokesman for Neiman-Marcus announces† [5]); the poor are not. This is the 1980 replay of â€Å"Scrooge’s winter, ‘as mean as ajunkyard dog† (32). The â€Å"Future Christmas† takes place after monopoly capitalism has literally captured Christmas following a court decision which has granted exclusive rights to Santa Claus to one person and one company. One strand of the complex plot continues the Dickensian intertext: the American president-a vacuous, alcoholic, ex-(male) model-is reformed by a visit from St. Nicholas, who takes him on a trip through hell, playing Virgil to his Dante. There he meets past presidents and other politicians, whose punishments (as in the Inferno) conform to their crimes. Made a new man from this experience, the president spends Christmas Day with his black butler, John, and John’S crippled grandson. Though unnamed, this Tiny Tim ironically outsentimentalizes Dickens’: he has a leg amputated; he is black; his parents died in a car accident. In an attempt to save the nation, the president goes on televi13 LINDA HUTCHEON sian to announce: â€Å"The problems of American society will not go away †¦ by invoking Scroogelike attitudes against the poor or saying humbug to the old and to the underprivileged† (158). But the final echoes of the Dickens intertext are ultimately ironic: the president is declared unfit to serve (because of his televised message) and is hospitalized by the business interests which really run the government. None of Dickens’ optimism remains in this bleak satiric vision of the future. Similarly, in Yellow Back Radio Broke-Down, Reed parodically inverts Dostoevsky’s â€Å"Grand Inquisitor† in order to subvert the authority of social, moral, and literary order. No work of the Western humanist tradition seems safe from postmodern intertextual citation and contestation today: in Heller’s God Knows even the sacred texts of the Bible are subject to both validation and demystification. It is significant that the intertexts ofJohn Barth’s LETTERS include not only the British eighteenth-century epistolary novel, Don Quixote, and other European works by H. G. Wells, Mann, and Joyce, but also texts by Henry David Thoreau, Nathaniel Hawthorne, Edgar Allan Poe, Walt Whitman, and James Fenimore Cooper. The specifically American past is as much a part of defining â€Å"difference† for contemporary American postmodernism as is the European past. The same parodic mix of authority and transgression, use and abuse characterizes intra-American intertextuality. For instance, Pynchon’s V. and Morrison’s Song of Solomon, in different ways, parody both the structures and theme of the recoverability of history in William Faulkner’s Absalom, Absalom!. Similarly, Doctorow’s Lives of the Poets (1984) both installs and subverts Philip Roth’s My Life as a Man and Saul Bellow’s Herzog (Levine 80). The parodic references to the earlier, nineteenth-century or classic American literature are perhaps even more complex, however, since there is a long (and related) tradition of the interaction of fiction and history in, for example, Hawthorne’s use of the conventions of romance to connect the historical past and the writing present. And indeed Hawthorne’s fiction is a familiar postmodern intertext: The Blithedale Romance and Barth’s The Floating Opera share the same moral preoccupation with the consequences of writers taking aesthetic distance from life, but it is the difference in their structural forms (Barth’s novel is more self-consciously metafictional [Christensen 12]) that points the reader to the real irony of the conjunction of the ethical issue. The canonical texts of the American tradition are both undermined and yet drawn upon, for parody is the paradoxical postmodern way of coming to terms with the past.

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Implications of RFID technology - Essay Example The purpose of this paper is to discuss different applications of RFID technology and its implications on our society. RFID technology can change the way people realize business. Stores can create smart money cards that customer can use to realize their purchases. An industry that utilized RFID to create solution that customers wanted is the water park recreational industry. The enterprise Interlock created RFID tags that can be used by customer to open up lockers and to serve as smart money cards to replace the need to carry cash in the recreational water parks (Lock’em Up, 2010). The smart tags can also be used in these theme parks to identify the age and body specification of children such as height which may prohibit a child from using certain park rides. In the cellular industry companies have the capacity to insert RFID tags inside the mobile phones so that the devices can be used for payment system applications. The integration of the telephony and banking industry can further promote consumerism in the marketplace. Companies in the logistics business can use RFID tags to tag valuable assets in order to know its location at all times. The tags can be used for security purposes. The prices of the tags have come down a lot which has permitted many companies to take advantage of its applications. In the apparel industry company can keep better track of its inventory which can enabled firm to optimize sales during peak seasons. The total spending in RFID supply chain application in 2007 was approximately $1 billion (Ftc, 2005). Due to value of information many libraries across the United States and Europe are tagging their books with RFID technology. The use of RFID provides manager with a greater level of inventory control precision. This information can be used to improve their purchasing cycles. Some people believe that RFID

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Final part - Essay Example My 1st day at the organization began with the formal signing of wavier forms to indicate that I was indeed working there. My supervisor then enlightened me on the tools that were available as well as the duties that I would carry out during the day. My first role was helping him on putting up frames for a house that had been set up in the locality. This involved putting up exterior wood panels so as to cover the already put up frames by nailing them together. Through combined efforts, we were also able to put up ladder blocking in the walls. I also joined another team of workers at the construction site and helped them the top wooden stud of the house in its appropriate place. On the 2nd day, my supervisor assigned me and other volunteers to work on putting up the roof. I assisted in laying of shingles as a base set up for the roof. There was a roofing professional on site to guide on how to properly roof the house in order to avoid any leakages in times of rain. He guided us through proper alignment and nailing of tar papers as well as layering of the shingles in their proper places. We were then required to install the aluminum roof side covers, a process that required effective teamwork to ensure that each nail was properly nailed in its rightful place. Afterwards, we were required to go round the house confirming that the wall panels were all nailed down properly. I was able to identify and rectify a few of errors all by myself by applying what I had previously learnt. In the course of my volunteer ship, I was able to gain 1st hand experience of what I had orally learnt at school. The basis safety guidelines while constructing a house made more sense now that I had carried the out practically. The idea of teamwork during the construction of a house made more sense to me at that time than when it was being taught in class. I was also able to analyze the principles of construction that I had been taught earlier. This was in

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Literature Review on War Correspondence - Essay Example This is due to the agendas, styles and topics of news that female correspondents demonstrate; this is referred to by many scholars as ‘feminine’ news (Chambers et al, 2004: 2). Chambers et al (2004: 2) indicate that women’s reports â€Å"adopted a human-interest approach and were labelled as having a women’s angle†. Nevertheless, Akers (1988: 2) argued that male and female reporters write similar stories. Male correspondents also wrote ‘human interest’ stories. In the field of broadcasting, a growing number of women are being sent to war zones to cover conflicts so as to highlight the â€Å"drama of reporting in a market-driven profession† (Chambers et al, 2004: 197). For example, in 2011 Lara Logan was sexually assaulted in Cairo by violent mobs when she was conducting a live interview in front of the camera. Logan commented: â€Å"I was more afraid of being raped than shot† (quoted in Eagar, 2011). Manyon (2001: 16) sugge sts that the physical charms of Lara Logan are to her advantage, but these physical features would not help her when reporting in a war zone; professional skills (self-protection and journalistic skills) are the key advantages when doing reporting during a war. Therefore, there are some differences between female and male correspondents in terms of news writing style, gathering news and also in physiology in a war zone. The aim of the research is to investigate the difference of news writing styles (content) and news gathering between female and male war correspondents to do with war coverage. I will also explore the advantages and disadvantages of female correspondents on news writing and gathering news in war zones. I will explore the benefits and drawbacks of the female war correspondents so as to give a clear view for female correspondents to maximize their goodness and minimize their abuse and create higher quality reporting on war coverage. I will also make contributions for n ews agencies to hunt the appropriate journalists in a suitable place. Moreover, this also helps to the public to pay more attention to female war correspondents. In addition, the research is going to study the efforts of the media. Gender aspects play an important role in journalism studies, no matter whether from a positive or negative perspective. 2.2 Significance   Journalism should always be faithful and objective  when expressing the nature of delicate matters. However, can journalists and news editors really conduct news editing without becoming emotionally involved? Everyone has a different writing style that is unique to them. News writing by nature is very personalized. Journalism writing is related to character, race and gender factors. This research believes that journalism has been combined with ideology. Nowadays, post-modern feminists claim that women and men should be seen equally in all aspects of society. They that believe woman can take all kinds of responsibil ities that were usually taken by men. They also claim that the payment for work shall be same between men and women. However, in journalism there are some differences between men and women, particularly in news writing and news gathering procedures. This research retorts the viewpoint of the average post-modern female. For the literature review, I will give a brief introduction and background about the topic in general. Secondly, I will give a critical

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CIS Homework - Case Study Example It is pertinent to mention here that the guidelines and best practices varies with respect to the medium or category of the technology; for example, the guidelines for information security of the information systems would be not similar to the best practices or guidelines of the computer network, mobile devices, online collaboration and social sharing, internet protection, electronic device security etc (IBM, n.d). One of the most common information security best practices that I have found in all the above mentioned websites is to develop strong password protection for logging in / logging out of any system. One of the main reasons for emphasizing the strong passwords is that despite the development and implementation of latest technologies to protect secured information, the information can easily have unauthorized access if the user has not developed a strong password to secure its personal information. Moreover, most of the information leakage is due to the same reason, as a common hacker can attack to the vulnerability of weak password and break into your

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History - Essay Example Critical thinking is paramount in our day to day lives and provides us with an intellectual approach that facilitates us to choose from the available kind of information what is relevant and applicable in our lives and leave out the rest. The class has enabled me to look at present day as a stepping stone onto the future and that fifteen years from now, the world will have undergone massive transformations ranging from health, infrastructure and the general well being of society (Fea, 2013). Lastly, understanding historical events is essential for effective understanding of the condition of man. This will permit man to build and may also be important in initiating change upon a secured foundation. The most significant determinant of history is time. Time creates history and history exists because of time. And in conclusion, history is situated in time-space, which anchors the cosmos together, framing both the past as well as the present (Fea,

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International finance - Assignment Example The system of the Agreement was aimed towards keeping the major currencies of the world at a fixed rate. With the collapse of the system, the world economies have been facing the volatility which is continuing at present as well. Under the system of Bretton Woods, the various countries’ major currencies were used to be fixed in relation to the Dollar while the Dollar was fixed with respect to the value of gold. This system indicated that the threat of currency instability was to be abided by the governments. As a result of this system, the corporation houses were to deal with lesser trading activities related with foreign currencies on a large volume. The system of the Bretton Woods Agreement at that time was factually capable of providing significant firmness within the markets of currencies (Hussain, 2010). The governments prefer fixed exchange rates to floating exchange rates which is prevalent at present in the world economies because under the later system, the currencies ’ demand and supply factors are the determinant of the rate of exchanges within the market of foreign exchange. Thus, the governments’ power over the fluctuations of the currency valuation gets removed under the floating rate system. Along with this fact, the risk associated with the currency and financials appears in privatised form (Ono, 2004). On the other hand, the distinctive system of the fixed exchange rate allows the governments or respective authorities to bestow controls over certain tools of the monetary policy such as that of the regulation on the rates of interests and supply of money through issuing fresh bills. However, the authorities in charge of the monetary policies function under the control and regime of a board of currency which allows the authorities to enhance the money supply only after ensuring that the particular country has sufficient reserves of the foreign currency that are essential for backing up the enhancement of domestic currency with in the nation (International Monetary Fund, 2009). More precisely, it is due to the following advantages of fixed exchange rates in the international monetary system that government prefers to preserve it. Firstly, due to the existence of fixed exchange rate system, price constancy in the international trading market can be ensured for the purpose of effective performance on trading. Price stability in the international trading market aids towards its growth and it also assures less risk for the businesses. Secondly, fixed exchange rates are termed to be inclined towards policies against inflation under this system. The countries are required to operate under strict policies related to both monetary as well as fiscal administration. Thirdly, the regimes under the system of fixed exchange rate demand from the Central Bank that it should uphold huge amount of foreign reserves in the form of both hard currencies and gold as well. This requirement of the fixed exchange rate regime helps in backing up risks that can arise due to any adverse situation of the international market (Fordham University, 2011). Along with the above mentioned benefits, another essential benefit sought by the government that make the fixed exchange rate system preferable for the government is that fixed rates are highly

The Construction of News Essay Example for Free

The Construction of News Essay What makes the use of visual and verbal strategies in news construction so important? The answer has to do with the fact that what makes any good news item attractive is its ability to capture and retain the attention of the audience. There are many ways you can use to get your audiences attention, but visual and verbal strategies have been tested and proven to be the most effective. Any news item in the print media, radio or television, however news worthy it might be, will not be taken with the seriousness it deserves if visual and verbal cues are not used. The human mind reacts to more readily to statements which are accompanied by powerful verbal and visual connotations than it does blank, or what Simmons calls ‘imageless’ statements. News papers utilise pictures as a means of capturing attention. Televisions on the other hand make use of moving images, or what is commonly known as video. Pictures speak a thousand words, moving images speak millions. Images, whether still or moving, are indispensable in the media industry. These are not only appealing to the eye and/or ears, but they also help the reader, viewer and listener to grasp the message better. Television journalists usually use videos taken from the source area of the news material. It would be very monotonous and even tiring if TV news lacked live shots of their news. These videos serve the same purpose as picture serve in newspapers. They are a powerful means of capturing and retaining the audience’s attention. War scenes have always had more impact on the viewer because of the images used. The coverage of the war in Iraq managed to elicit a lot of strong, albeit differing views and emotions. This can be attributed to the effectiveness of the kind of images that were used by news channels in broadcasting this news. According to Pfau and Haigh, the use of images in television war stories is very influential. They say that television news provides viewers with a â€Å"front row seat to view combat†. In other words, it gives the audience a feeling of presence, like they are a part of the combat out there in the battle field. Abrahams argues that television news communicates more emotion than other news venues. This tendency is even more pronounced with graphic images of war which he says are â€Å"among the most powerful visuals known to humankind Not all images taken from a scene are used in the final news item. The images are usually edited to suit the needs of the audience. Dramatic images often make interesting news material and video journalists will always strive to the best part of a video clip to show to the audience. This kind of news presentation has been criticised in the past for being partial. Brown, in his Video Aid techniques book, says that news makers usually look out for the most bizarre, which also happens to be the most negative part of a video shootage to use in their news. This has a way of making people misunderstand a situation. For example, many news channels, while covering the Iraq war, usually depicted the brutality of the terrorist insurgents over civilians, yet they failed to report the brutality of some of the American soldiers to the same civilians. Many people thought that the Iraqis actually liked all the American soldiers and yet the situation on the ground was far much different. Film and television have also had a big role to play in how images are used in the other news media. The pictures used in newspapers and magazines reflect what the reader had already watched in a film or on television news. The pictures that journalists use are put in such a way that the message they contain will be reinforced in the readers’ mind. News broadcasters also use creative language to hold their audience’s interest in a particular news story. They do not use the normal street language, nor do they confine themselves to the formal language. Rather, they construct their news in such a way that the words they use are appealing to the listener. The verbal strategies have to be used hand in hand with appropriate non-verbal cues in order to achieve to the maximum, the desired effect. Radio journalists only have their voices to rely on when presenting news to their audience. They usually use sophisticated, yet understandable languages. They have to use high levels of creativity since their presentation is only verbal. In most cases, journalists are able to present a news item to the listener in such a way that the listener feels like he/she is part of the events happening in the news. Images in the news media are also important in the presentation of societal norms and expectations. The media, most often than not, depicts what is happening in the society. Therefore, many news editors prefer to use images that people can relate to or are used to. Conclusion Journalists have had a major role to play in writing and reproducing major occurrences in the history of human kind. Today, it is possible to get a video clip from the Second World War due to a journalist’s efforts. It is also possible to access newspaper articles from long as the 1800s. There are many images depicting past events that should never be forgotten. These are preserved in various museums and media houses for posterity. Therefore, it can be said that journalist have over the years utilised the development of images to preserve the history of humankind. Journalists have also used visual and verbal strategies to showcase the social injustices that are plaguing much of the world today. It is through the images presented in our media that we are able to appreciate and grasp what is happening around us. The media showed the world what was happening in Darfur, and the world was able to act fast to avoid another Rwanda episode. The famous photographer, Mohammed Ali, received worldwide acclaim for highlighting the Ethiopian famine which was killing hundreds of people in Ethiopia. Though journalists have used images for the good of people who are viewing them, there needs to be some regulation on how they present these images. For instance, they should use images that show both sides of the story in order to avoid misplaced understanding among the audience.

The integrating earned value management

The integrating earned value management 3.3 EARNED VALUE PROJECT MANAGEMENT 3.3.1 Basics of Earned Value Project Management Project Management is often defined as the integrated management and control of Time, Cost, Resources and Quality for the successful on time and on budget completion of projects. Traditional approaches to PM ranged from simple Gantt Charts which help in representing the work to be done on a time scale to techniques likes CPM and PERT that addresses the needs of deterministic and probabilistic scheduling. All of these techniques tend to be used primarily for managing time. Cost is often measured independently by the accountants. This separation between cost and time is often the cause of project failure because the executing team is often unable to detect cost overruns until they are well past the point where they can change the outcome of the project. 3.3.2 Illustrative Explanation Earned Value Project Management (EVPM) is a concept that helps Project Managers seamless link Time and Cost for more effective control. Despite the difficult sounding title and the typical jargon associated with EVPM the basic idea is very simple and can be used effectively in a wide variety of situations. The best way to under stand EVPM is to walk through a sample project, so I am going to take you through a software project. Lets say we are working on the ERMS (enterprise resource management system) that has 10 deliverables/modules each to be completed in one month with a budget of 10 Lac Rupees each. The total project span works out to 10 months at a budget cost of Rs. 100 Lacs (Rs. 1 crore). We are at the end of the first three months and the Project Manager is busy preparing his project report. He starts up by reviewing progress and finds that two deliverables are fully complete while the third one is 80% complete. He checks with accounts and finds out that that a total of Rs. 28 Lacs have been spent so far. With this information he is ready to assign values to the three basic variables required to perform EVPM. These are as follows- 3.3.2.1 BCWS / Planned Value (PV) Budget Cost for Work Scheduled, also known as ‘Planned Value in the amount of money that should have been spent at this point in the life of the project if the project was proceeding as per plan. It is time phased budget baseline (figure). It is the approved budget for accomplishing the activity, work package or project related to the schedule. It can be viewed as the value to be earned as a function of project Work accomplishments up to a given point in time [12]. In our case we had planned to complete three deliverables in three months so we should have spent Rs. 30 Lac. A word of caution here, most projects dont proceed in a linear fashion (i.e. total budget/total duration in months). Correct BCWS values can be obtained from a resource loaded project plan that takes in account the actually work to be done in each period. Budget Cost for Work Scheduled is also called ‘Planned Value. 3.3.2.2 Budget at Completion (BAC) This is the total budget baseline for the activity, work package or project. It is the highest value of PV as shown in Figure-1 i.e. 100 Lac. 3.3.2.3 ACWP / Actual Cost (AC) This is the cumulative AC spent to a given point in time to accomplish an activity, work-package or project [12]. Actual Cost for Work Performed is the amount of money that we have actually spent on the project. Accounts have told us that we have spent Rs. 28 Lac. 3.3.2.4 BCWP / Earned Value (EV) This is the cumulative earned value for the work completed up to a point in time. It represents the amount budgeted for performing the work that was accomplished by a given point in time [12]. To obtain EV of an item, simply multiply its total budget by its completed proportion. Budget Cost for Work Performed is the assessment of the value of work that we have completed. Think of this as the worth of the work that we have completed, so if we had completed three deliverables we would have Completed 30 Lac Rupees worth of work. But we have only fully completed two deliverables so we have Rs. 20 Lac and we have 80% of the third deliverable. Partial completion is a tricky issue, because partial estimates generally vary from person to person depending on how optimistic or pessimistic they are. There are rules of the thumb (Heuristics) to deal with this situation. The common ones are 0-100 (give no credit till the task is complete), 20-80 (give 20% credit when the task is underway and the remaining 80% when it is completed), 50-50 (give 50% credit for starting the task and the balance on completion). The selection of method is up to you, but you need to ensure that you will use the same measure across the project for all tasks. In our case lets say we go with the 50-50 rule, so well give Rs. 5 Lacs credit for the third deliverable which brings the BCWP to Rs. 25 Lacs (20+5). Note that BCWP is also referred to as the Earned Value (EV). Lets start by calculating the two basic measures of performance SPI and CPI -3.3.2.5 3.3.2.5 Schedule Performance Index (SPI) Schedule Performance Index is an indicator for accessing our performance relative to the plan. SPI = BCWP/BCWS = 25/30 = 0.83. We know we are behind schedule, what SPI is telling us is that we have only completed 83% of the work that we originally planned to complete. 3.3.2.6 Cost Performance Index (CPI) Cost Performance Index shows us how much value we are getting for each Rupee that we spend on the project. CPI= BCWP/ACWP 25/28 = 0.89. We are over budget because, for producing Rs. 25 Lacs of work we have spent Rs. 28 Lacs. So we are only getting 89 Paisas of value for each Rupee that we spend. Just looking at SPI and CPI we know that we have a problem in that we are both over budget and behind schedule. A lot of work has been done on the use of SPI and CPI early in the project to predict the final outcome. Most of the work has been done in the US defense industry where researchers have looked at dozens of completed projects and tried to correlate their outcome with the status of their SPI and CPI early on during the project. Most studies show that the value of SPI and CPI when the project is only 20% complete can very accurately predict the final outcome. Using heuristics developed from these studies we can predict the following- Projected Project Duration = Planned Duration / SPI = 10 / 0.83 = 12 Month. So we are expecting that the project will be completed two month behind schedule, Projected Project Cost = Planned Cost / CPI = 100 / 0.89 = 112 Lacs. We are expecting a Rs. 12 Lacs overrun on the budget. Recovery Cost This is the cost that we will incur if we need to complete the project within the originally specified time by adding additional resource to the project. Projected Project Cost = Planned Cost / CPI*SPI = 100 / 0.89*0.83 = 135 Lacs Rupees. We should be ready to exceed the budget by 35% if we want to complete the project in time. Conventional wisdom says that your ability to change the outcome of a project is maximum at the start or the project and minimum near the end of the project. So it makes good sense to detect problems early and take action when you have room for maneuver. If you think about the 20% point intuitively, youll note that the any estimation errors that are leading to low CPI (i.e. budget overrun) are likely to effect the remaining activities of the project at the same rate, similarly the performance of your resources in execution is unlikely to get any better than what they have proven capable of in the first fifth of the project. Given the importance of early detection, think about conventional project management and how little it can tell you from the fact that you have completed two deliverables and 80% of the third and spent 28 Lac Rupees, Because of this, problems often evade early detection and by the time someone detects the problem its too late in the project to do much about it i.e. in a stage where the project is controlling the project manger instead of vice versa. 3.3.4 Integrating EVM Risk Management In todays uncertain business environment there is understandable pressure to improve the quality of decision-making at all levels in the organization. A number of techniques have been developed to address this concern, in an attempt to introduce some rational framework to the decision-making process. Two of the leading approaches are Earned Value Management (EVM) and Risk Management (RM). These stand out from other decision support techniques because both EVM and RM can and should be applied in an integrated way across the organization. Starting at the project level, both EVM and RM offer powerful insights into factors affecting project performance. Another key similarity between the two techniques lies in the word â€Å"management†. It is possible to conduct â€Å"Earned Value Analysis† and â€Å"Risk Analysis† to expose underlying drivers of performance. But both techniques emphasize the need to move from analysis to management, using the information to support proactive decision-making. Consequently, both EVM and RM encourage those using the techniques to take appropriate management action based on the results, and not to stop at mere analysis. Since both EVM and RM address the same problem space (performance of projects, programs, portfolios and businesses), and both provide management information to provide a basis for decisions and action, there has been considerable interest in the possibility of developing a combined approach to create synergistic benefits. Currently EVM and RM operate as parallel coexisting processes without systematic integration (although good project managers may intuitively link the two in practices). Much of the discussion to date on the relationship between EVM and RM has been rather theoretical, addressing the key principles underlying the two techniques. The objective is to analyze steps that can be implemented to combine EVM and RM in order to gain maximum benefit for projects and the organization. 3.3.4.1 Weakness in EVM and RM The strength of EVM RM has already been described, as their proponents seek to encourage wider update use. Each technique however has atleast one key weakness which presents a significant danger to those relying on the output to support strategic or tactical decision-making. For EVM, one of the main perceived weaknesses is its reliance on a key assumption, that future performance can be predicted based on past performance. Calculated performance measures (CPI, SPI, CV, SV etc) are used to predict forwards and estimate cost at completion or overall duration. Unfortunately there is no guarantee that the basic EVM assumption will be true, and it is likely that the future will deviate from that predicted by simply extrapolating from past performance. The strength of EVM lies in its rigorous examination of what has already occurred on the project, using quantitative metrics to evaluate project past performance. It goes on however to predict future performance by extrapolating from the past. But it is not possible to drive a car by only looking in the rear-view mirror. A forward view is also required, and this Is what RM offers. While project planning looks at the next steps which lie immediately ahead, RM has a horizon further into the future, It acts as forward-looking radar, scanning the uncertain and unclear future to identify potential dangers to be avoided, as well as seeking possible additional benefits to be captured. However this undoubted strength of being resolutely and exclusively future-focused is also one of the key weaknesses in RM. Any thing which occurred in the past is of little or no interest to the risk process, since there is no uncertainty associated with past events. RM starts with todays status quo and looks ahead. How the project reached its current position is not relevant to the risk process, unless one is seeking to learn lessons to assist RM on future projects. As a result RM as commonly implemented often lacks a meaningful context within which to interpret identified risks, since it has no means of capturing past performance and feeding this into the decision-making process. If EVM is weakened by assuming that future performance can be predicted from past performance, and if RM is weakened by looking only forwards with no real awareness of the past, a useful synergy might be obtained if a combined EVM-RM approach were able to address these weaknesses. Combining a rear-view mirror with forward-looking radar would use the strengths of complementary approaches to compensate for the weaknesses inherent in using each alone. Consequently it is possible to produce significant benefits by using RM to provide the forward view required by EVM, and by using EVM to provide the context required for RM. 3.3.4.2 Synergies from a Combined Approach Given the common aims of EVM and RM to examine and expose drivers of project performance in order to focus management attention on achievement of objectives, and given their differing perspectives towards the past and the future, a number of areas of possible synergy exist between the two techniques. The steps required to implement these synergies are [18]: Creating the baseline spend plan Predicting future outcomes Evaluating risk process effectiveness 1. Creating the baseline spend plan The foundation for EVM is the baseline plan of expected spend over time, creating the profile of â€Å"Budgeted Cost of Work Scheduled† (BCWS) or â€Å"Planned Value† (PV) against which project performance is measured. This baseline is derived from a costed and resourced project plan, including fixed and variable costs arising from financial and human resources. The BCWS profile is typically presented as a cumulative curve, or S-curve, as in Figure below. The baseline BCWS exists as the benchmark against which project performance will be measured. However one of the first things a project manager learns is that reality will never precisely match the project plan. As soon as work starts, there are variations in productivity, resource and information availability, delivery dates, material costs, scope etc. This is why a rigorous change control process is vital to successful project management. Although not all changes can be foreseen before the project starts, it is possible to assess the degree of uncertainty in a project plan, in both time and cost dimensions. This is the domain of RM. One of the first contributions that RM can make to EVM is to make explicit the consideration of uncertainty and risk when constructing the baseline BCWS. By undertaking a full risk assessment of the project plan before the project starts, addressing uncertainties in both time and cost, it is possible to evaluate the degree of risk in the baseline project plan. Quantitative risk analysis techniques are particularly useful for this, especially the use of Monte Carlo simulation on integrated models which include both time and cost uncertainty. These risk models take account of variability in planned values, also called â€Å"estimating uncertainty† (for example by replacing planned single-point estimates of duration or cost with three-point estimates or other distribution types), and they should also model the effect of discrete risks to reflect their assessed probability of occurrence and the subsequent impact on project time and/or cost. Both threats and opportunities should be addressed in the risk model, representing the possibility of exceeding or failing to meet the project plan. The results of the risk analysis allow the best case project outcome to be determined, representing the cheapest and. quickest way to reach project completion. Similarly a worst case profile can be produced, with highest cost and longest duration. All other possible outcomes are also calculated, allowing the â€Å"expected outcome† within this range to be identified. These can be shown as a set of three related S-curves, as in Figure below, which take account of both estimating uncertainty (variability in planned events) and discrete risks (both positive opportunities and negative threats). The ellipse at the end of the curves represents all possible calculated projects outcomes (90% confidence limit), with the top-right value showing worst-case (highest cost, longest schedule), the bottom-left giving best-case (cheapest and Quickest), and the centre of gravity of the ellipse being at the expected outcome of project cost and duration. The existence of this set of possible project outcomes raises the question of where the baseline spends profile for EVM should be set. The recommendation from a combined approach to EVM and RM is to use the expected value cumulative profile from a quantitative time-cost risk analysis as the baseline for BCWS. In other words, the central S-curve in Figure 2 would be used as the baseline instead of the S-curve in Figure 1. This ensures that the EVM baseline fully reflects the risk associated with the project plan (including an appropriate amount for contingency which is automatically incorporated in the risk analysis results), rather than measuring performance against the raw â€Å"all-goes-to-plan† plan. 2. Predicting future outcomes Both EVM and RM attempt to predict the future outcome of the project, based on information currently known about the project. For EVM this is achieved using calculated performance indices, with a range of formulae in use for calculating Estimate At Completion (EAC). Most of these formulae start with the Actual Cost of Work Performed to date (ACWP, or Actual Cost AC), and add the remaining budget adjusted to take account of performance to date (usually using the Cost Performance Index CPI, or using a combined Performance Efficiency Factor based on both CPI and SPI). These calculations of the Estimate To Complete (ETC) are used to extrapolate the ACWP plot for the remainder of the project to estimate where the project might finally end (EAC), as shown In Figure 3 below. RM predicts a range of possible futures by analyzing the combined effect of known risks and unknown uncertainty on the remainder of the project. When an integrated time-cost risk model is used, the result is a set of S-curves similar to Figure 2, but covering the uncompleted portion of the project, as In Figure 4. It is also possible to use risk nalysis results to show the effect of specific risks(threats or opportunities) on project performance as measured by earned value. Since the risk analysis includes both estimating uncertainty discrete risks, the model can be used to perform â€Å"what-if† scenario analysis showing the effect of addressing particular risks. 3. Evaluating risk process effectiveness A risk can be defined as â€Å"any uncertainty that, if it occurs, would have a positive or negative effect on achievement of one or more project objectives†. RM aims to address this uncertainty proactively in order to ensure that project objectives are achieved, including completing on time and within budget. As a result, if RM is fully effective, actual project performance should closely match the plan. Since EVM performance indices (CPI, SPI) measure deviation from plan, they can be used to indicate whether the risk process is being effective in addressing uncertainty and controlling its effects on project performance. If CPI and/or SPI are below 1.0 indicating that project performance is falling short of the plan, then one of the most likely underlying causes is that the risk process is failing to keep the project on course. An Ineffective risk process would fail to avoid adverse risks (threats) proactively, and when threats materialize into problems the project incurs delay and/or additional cost. Either the risk process is not identifying the threats, or it is not preventing them from occurring. In this situation, management attention should be directed to the risk process, to review its effectiveness and consider whether additional resources are required, or whether different techniques should be used. Conversely, if CPI and/or SPI are above 1.0 indicating that project performance is ahead of plan, the risk process should be focused on exploiting the opportunities created by this situation. Best-practice RM addresses both threats and opportunities, seeking to minimize threats and maximize opportunities. When EVM indicates that opportunities exist, the risk process should explore options to capture them and create additional benefits for the project. It should also be noted that if CPI and/or SPI far exceed 1.0, this may indicate other problems in the project and may not simply be due to the existence of opportunities. Typically, if actual performance is much greater than expected or planned, this could indicate poor planning or incorrect scoping when setting up the initial baseline plan. If this highly anomalous behavior continues, a baseline re-planning effort should be considered, which of course will involve the need for further risk management. Similarly if CPI and/or SPI are well below 1.0, this may not simply be due to the impact of unmanaged threats, but may indicate problems with the baseline plan or scope. Figure 5 illustrates the relationship between the values of EVM indices (CPI and/or SPI) and RM process effectiveness. The key to using EVM indices as indicators of RM effectiveness is to determine appropriate thresholds where action is required to refocus the risk process. Clearly some variation of EVM indices is to be expected as the project unfolds, and it would not be wise to modify the risk process in response to every small change in CPI /or SPI. However if a trend develops crosses the thresholds of â€Å"common variance†, action should be considered. Figure 6 illustrate this, with the thresholds of â€Å"common variance† for CPI /or SPI set at = 0.9 and =1.25. A further â€Å"warning threshold† is set at 0.75, suggesting that an adverse trend is developing and preparatory steps should be taken. The thresholds of 0.75, 0.9 and 1.25 used in Figure 6 are illustrative only, and organizations may be able to determine more appropriate threshold values by reviewing historical trend data for CPl and SPI, and identifying the limits of â€Å"common variance† for their projects. Plotting the trend of CPI and SPI over time against such thresholds also gives useful information on the type of risk exposure faced by the project at any given point. For example Figure 6 Indicates that the project schedule is under pressure (SPI trend is consistently below 1.0), suggesting that the risk process should focus on addressing sources of time risk. The figure also suggests that cost savings are possible which might create opportunities that can be exploited, and the risk process might be able to maximize these. These recommended action types are illustrated in Figure 7, corresponding to the following four situations: Both CPI and SPI high (top-right quadrant), creating opportunities to be captured Both CPI and SPI low (bottom-left quadrant), requiring aggressive action to address threats High SPI but low CPI (top-left quadrant), requiring focused attention to cost risk, with the possibility of spending additional time to address High CPI but low SPI (bottom-right quadrant), where attention should be paid to addressing schedule risk, and cost trade-offs can be considered Figure 7 also suggests that if either CPI or SPI (or both) remain abnormally high or low, the baseline plan should be re-examined to determine whether the initial scope was correct or whether underlying planning assumptions were unfounded. It is important to note that these action types should be viewed only as 1st options, since other considerations may lead to different actions. For example in projects with high schedule-constraints (e.g. product launch, event management etc), the trade-off between time cost may be prioritized differently than in cost-constrained projects. 3.3.4.3 Discussion Both Earned Value Management (EVM) and Risk Management (RM) seek to improve decision-making by providing a rational framework based on project performance. EVM examines past performance against clearly-defined quantitative metrics, and uses these to predict the future outcome for the project. RM looks ahead to identify and assess uncertainties with the potential to affect project performance either positively or negatively, and develops responses to address each risk proactively. Both techniques share a focus on project performance, and have the same purpose of developing effective actions to correct unwelcome trends in order to maximize the Likelihood of achieving project objectives. One (EVM) does this by looking back at past performance as an indicator of likely future performance. The other (RM) looks ahead at possible influences on future project outcomes. These two approaches are not in conflict or mutually exclusive. Indeed their commonalities imply a powerful synergy, which i s available through combining the complementary strengths of each technique and using insights from one to inform the application of the other (as summarized in Table 5). 1. Creating the baseline spend plan (BCWS/PV) Develop costed WBS to describe scope of work, without hidden contingency Produce fully costed and resourced project schedule Assess estimating uncertainty associated with initial time/cost estimates Perform risk identification, risk assessment and response development Quantify time and cost risk exposure for each risk, taking account of the effect of agreed responses Create integrated time/cost risk model from project schedule, reflecting both estimating uncertainty (via 3-point estimates) Select risk-based profile as baseline spend profile (BCWS/PV); it is most common to use the â€Å"expected values†, although some other confidence level may be selected (say 80%) 2. Predicting future outcomes (EAC) Record project progress and actual cost spent to date (ACWP), and calculate earned value (BCWP) Review initial time/cost estimates for activities not completed, to identify changes, including revised estimating uncertainty Update risk identification, assessment and quantification, to identify new risks and reassess existing risks Update integrated time/cost risk mode! with revised values for estimating uncertainty and discrete risks, taking account of progress to date and agreed risk responses Select risk-based calculation as estimate of final project duration and cost (EAC), using either â€Å"expected values†, or some other confidence level (say 80%) Use risk-based profile as updated expected spend from time-now to project completion 3. Evaluating risk management process effectiveness Determine threshold values for CPI and SPI to trigger corrective action in risk process (or use default values of 0.75, 0.90 and 1.25) Calculate earned value performance indices (CPI and SPI), plot trends and compare with thresholds Consider modifications to risk process if CPI and/or SPI cross thresholds, enhancing the process to tackle opportunities more effectively if CPI and/or SPI are high, or refocusing the process on threat reduction if they are low Take appropriate action either to exploit opportunities (high CPI/SPI), address threats (low CPI/SPI), spend contingency to recover time (high CPI/low SPI), or spend time to reduce cost drivers (high SPI/low CPI) Consider need to review initial baseline, project plan or scope if CPI and/or SPI persistently have unusually high or low value Table-5: Summary of steps to integrate EVM and RM http://support.sas.com/documentation/cdl/en/orpmug/59678/HTML/default/evm_sect3.htm http://www.tech-archive.net/Archive/Project/microsoft.public.project/2007-05/msg00594.html http://www.allpm.com/index.php?name=Newsfile=articlesid=2184 http://www.allpm.com/index.php?name=Newsfile=articlesid=2184theme=Printer http://www.freepatentsonline.com/4424121.html http://www.ustreas.gov/tigta/auditreports/reports/094602fr.html http://www.ustreas.gov/tigta/auditreports/reports/094602fr.html http://www.dcma.mil/communicator/spring_summer04/evm.cfm http://www.parm.com/index.php?option=com_contenttask=viewid=171Itemid=35 http://www.parm.com/index.php?option=com_contenttask=viewid=177Itemid=35 http://www.scribd.com/doc/4614499/Project-Performance-Measurement http://www.baz.com/kjordan/swse625/htm/tp-py.htm http://guidebook.dcma.mil/79/evhelp/what.htm http://www.acq.osd.mil/pm/faqs/evbasics.htm http://commdocs.house.gov/committees/bank/hba57680.000/hba57680_0.HTM http://www.allbusiness.com/management/risk-management/8945762-1.html http://www.parm.com/index.php?option=com_contenttask=viewid=171Itemid=35 http://www.bcs.org/server.php?show=ConWebDoc.5912 http://www.plannerlife.info/2007/07/what-is-earned-value.html http://evm.nasa.gov/tutoriala.html Earned Value Management (EVM) Tutorial http://glossary.tenrox.com/earned-value.htm http://support.sas.com/documentation/cdl/en/orpmug/59678/HTML/default/cpm_sect42.htm http://www.ombudsman.forces.gc.ca/rep-rap/sr-rs/sf-ts/rep-rap-02-eng.asp http://www.freepatentsonline.com/6006060.html http://www.pmi.org/Search/GenieRedirector.aspx?genieID=6685iss=1 http://www.pmi-cpm.org/pages/events/IPM06/Practice_Symposia.html http://edgar.sec.gov/about/oig/audit/337fin.htm http://www.scribd.com/doc/4614499/Project-Performance-Measurement http://www.acq.osd.mil/pm/faqs/evbasics.htm http://www.baz.com/kjordan/swse625/htm/tp-py.htm http://www.parm.com/index.php?option=com_contenttask=viewid=177Itemid=35 http://www.dcma.mil/communicator/spring_summer04/evm.cfm http://guidebook.dcma.mil/79/evhelp/what.htm