Hi Mark,

My name is Kim Starley and you saved my butt last semester...thank you again. Here is another order, but please don't give it to the writer who didn't come through for me last semester. Additionally, I have every and all remote access turned off on my computer. If the writer has to send me the document remotely, I would prefer a notification and download the work from the control panel. Yes, I am "that hacked".

This work is analytical and must be written in a scholarly voice.

The topic is: What are the conservative, liberal, and progressive philosophies undergirding the current (1990-present) debates in community arts education? SPECIFICALLY, the content must address whom is and whom isnt advocating for Arts education and WHY.

This essay serves as the introduction to the term paper I am writing, and I will incorporate your writing with mine. The paper, in its entirety supports advancement of postmodernism and community arts education by explaining the rise of postmodernism, and the failing era of modernism .My research reveals that although Modernism is not dead, it is failing; and community arts educations (both public and K-12) chance for survival depends on postmodern epistemologies. The content I am currently writing pertains to the topic in the late 1960s, 1970s, and the 1980s.

I am writing in the framework of Constructivism (these are the facts, as well as an explanation of these facts). As such the content that you are writing must demonstrate how the differing philosophies are the foundation for different positions people take on the issue.

Strict APA 6th Edition formatting
3-6 sources (please cite as many as needed to correctly address the topic)

Current content that may help you:

Third Ward: The Row Houses Project = Creative Community Building
Asset-based Community Art Development
Eco-artists and movement
Community Art Centers and Programs for Seniors/Aging Adults

Thank you for your time and consideration.

Kim Starley

The specific topics I need to cover are:

1) The benefits of art education, i.e; music, art and theater in public schools (k-12) as it relates to improved learning in math, literacy and self-esteem.

2) What percentage of the California education budget is spent on these Art programs.

3) What percentage of the California education budget is spent on other programs such as bilingual education, special needs programs and multicultural educational programs.

4) What percentage of students in California public schools (k-12) are enrolled in or require bilingual education.

5) What percentage of students in California public schools (k-12) are enrolled in or require special needs programs.

6) What percentage of students in California public schools (k-12) are enrolled in or require multicultural educational programs.

The conclusion needs to be that Art education in California public schools (k-12) benefits a vast majority of students in academic ways as apposed to other programs such as bilingual education, special needs programs and multicultural educational programs which cater to a smaller minority. In California we are faced with massive budget cuts in education and need to allocate monies to those programs (Art programs) that benefit all students rather than a minority in the name of political correctness.

***Please write one page responses to each article or book chapter related to the Art Education field. There should be seven separate responses to seven articles or book chapters.***

The evolution of art education content reshapes the field and changes curriculum in response to new technologies, research, and social issues in the schools. After reading seven articles or book chapters related to a topic of change in the field, write a response explaining how you would begin to mobilize your issue as new curriculum material for art education in the field. Sample contemporary trends include: teaching literacy through art, global pop culture, social justice, ecological conscience, cultural diversity, immigration and assimilation, art assessment, and interdisciplinary strategies, critical problem solving, and others.

Specifications:

The topic I have chosen is ?Integrating Theory and Practice in Online Adult Arts Education?? I am a teaching artist, and my graduate studies are focused on Adult Arts education. I think it is in my best interest to address how to teach art online, to adult learners.

I will check the Canvas course files to see if any of the six assigned PDF's are available for me to upload.

Rubric Specifications

The purpose of this paper is to provide you with an opportunity to enrich your skills/knowledge as a teacher in ways that you choose. Within the purview of the course topic, Teaching Adults, write two learning objectives for yourself for what you can learn by reading relevant research and scholarly writing.

The two learning objectives must be integrated. Ideas might include: research on the effectiveness of specific teaching methodologies perhaps with specific populations of learners, or research on a hot topic in your field such as learning communities, outcomes-based instruction, evidence-based practice, computer-based instruction, developing comprehensive assessment programs, etc.

In order to meet your learning objectives, select and read 8-10 scholarly research articles that will help you meet your objectives. You will then write one paper 8 pages outlining the following:



1. An introduction that clearly states your two learning objectives, and details why you chose them, and the process for selecting readings about the topics.
2. A literature review presenting and critiquing the literature findings relevant to your topics.
3. A summative discussion about specific ways you could incorporate your findings in to my career as an adult arts educator.

Additionally, write a 1-page analysis (key points) of this paper, which must be (1) discussed, and (2) incorporated into your 20-minute final presentation on our last day of class.



The texts listed below are the 6 assigned scholarly research articles (12 citations) that must address the learning objective that pertains to theory. The remaining 4 scholarly research articles (4 citations) must address the learning objective that pertains to practice.

Brookfield, S.D. (2013). Powerful techniques for teaching adults. San Francisco,

California: Jossey-Bass Publishing.

Brookfield, S.D. (2012). Teaching for critical thinking: Tools and techniques for helping

students question their assumptions (1st ed.). San Francisco, CA: Jossey-Bass.

Brookfield, S.D. (1999). Discussion as a way of teaching: Tools and techniques

for democratic classrooms (1st ed.). San Francisco, CA: Jossey-Bass.

Brookfield, S.D. (1995). Becoming a critically reflective teacher. San Francisco, CA:

Jossey-Bass.

Davis, B.G. (2009). Tools for teaching. (2nd Ed.) San Francisco, CA: Jossey Bass

Publishing.

Merriam, S., Caffarella, R., Baumgartner, L. (2007). Learning in adulthood. (3rd Ed.)

San Francisco, CA: Jossey Bass Publishing.


Thank you!

I will send the sources after I get assigned a writer!!
Prompt:
Essay Option 1: You are a legislative aide for a congressional representative from California. A recent bill has been introduced in the House of Representatives to de?fund federal subsidizing of the arts based on the logic that it is (a) an unnecessary expenditure for a nation faced with more pressing economic and security concerns, and b) a redundancy of what the free market already provides. Your congressperson has asked you to make an informed recommendation after authoring a concise report that outlines the issues at stake and responds to the question:
With major U.S. media corporations so heavily invested in producing American entertainment and culture, is it still necessary for the U.S. federal government to continue subsidizing art production/creation, performances, exhibitions, arts education programs, state arts councils, public broadcasting, brick and mortar museums, theatres, and concert halls?
Your 6?8 pp (min/max) report is to be a well?organized, well?supported and persuasively argued paper that directly responds to the prompt, demonstrates your understanding of course concepts, and adheres to the following criteria:
1. (12 pts) You must incorporate for background and/or relevant support of your argument all of the following readings:
??' Both Cowen AND McChesney readings ??' I will give summaries but it will benefit me if the writer does the readings as well, skim through really fast to add in quotes and get a better grasp of the two opposing views.
??' 2 additional course readings (of your choice)
??' 1 recent article from a major metropolitan newspaper (Staple article to the hard copy. DONT attach to Turnitin submission)
2. (10 pts) Integrate into your report clear and concise definitions for ALL five of the following concepts as they have been DEFINED AND USED IN THIS COURSE:
??' AVANT?GARDE (OR VANGUARD) ??' ART ??' ENTERTAINMENT ??' MEDIA CONCENTRATION ??' PUBLIC GOOD
3. (12 pts) DEFINE and EXPLAIN a minimum of 4 concepts (use more) from the following list that you will discuss as part of your overview of the issues and recommendation to vote for or against this bill:
??' SOFT POWER
??' KNOWLEDGE EXPORTS
??' CULTURAL BRANDING
??' CONVERGENCE CULTURE
??' CONVERGENT MEDIA
??' OLIGOPOLIES
??' ARTISTIC INNOVATION
??' ARTISTIC DIVERSITY
??' CONSUMER CITIZENSHIP
??' PARTICIPATORY CULTURE
??' WEB 2.0
??' DIY CULTURE
??' COLLECTIVE INTELLIGENCE
??' CULTURAL PRESERVATION
??' MEDIA REGULATION
??' POWER TO NEGATE
??' MONSTROUS HYBRID
??' MEDIUMS, GENRES, STYLES
??' PUBLIC SPHERE/PUBLIC SPACE
??' SERVICE + ENCULTURATION
??' CREATIVE ECONOMY
??' CULTURE INDUSTRIES
??' CREATIVE LABOR
??' CROWDSOURCE CURATION
(6 PTS) SUBMISSION FORMATTING - To earn the maximum credit available, paper must comply with standard college format, which includes:
??' Well written and organized
??' Edited for grammar and spellchecked
??' Meets minimum/maximum page requirements
??' 1 margins all around
??' Double?spaced (w/no added paragraph spacing)
??' 12 pt uncondensed/unexpanded font
??' Name, date, course ID
??' Turabian formatted references page
??' Turabian formatted in text citations
??' Numbered pages
??' Article of choice stapled behind last page
??' All pages stapled into a single document
Outline:
Intro: Before we get into the discussion we need to discuss the terms that foreshadow the discussion
AVANT?GARDE (OR VANGUARD) - A person separated from mainstream culture (Alienation) pushes for Innovation, and creates for the future. Reaction to the mainstream, pushing for something new.
An intelligencia that develops new and experimental concepts ??" Taplin
The Avant Garde comes out form people coming together out of a chance encounter and creating something new. It is a term for an intelligentsia that develops new or experimental concepts.
If its funded by the Government, can it be against the establishment?
In the 1950s, the art created through the WPA artist association can be seen as avant garde

ART - Howard Becker, Art Worlds (1982)
All artistic work, like all human activity, involves the joint activity of a number, often a large number of people. Through their cooperation, the art work we eventually see or hear comes to be and continues to be. The forms of cooperation may be ephemeral, but often becomes more or less routine, producing patterns of collective activity we can call an art world.
Art worlds, rather than artists, make works of art.
Art is abys calling to abys
All art is entertainment but not all entertainment is art
When you are moved it is art.
Art needs to challenge, it needs to be relevant 600 years from now, there needs to be point of view
ENTERTAINMENT - entertainment is for the audience, an attempt to get as many people to see it as possible. That which holds us and captures our attention, something that is visceral, that jangles our nerves and keeps us in our seats.

MEDIA CONCENTRATION - refers to a process whereby progressively fewer individuals or organizations control increasing share of the mass media (Wikipedia). Media conglomerates keeping media in oligopolies. If the government handled media it would be the same outcome.
Media Concentration: Similar to vertical integration. Idea that media is being kept by a handful of sources in the free market. But if media was handled by the government the concept of the single gatekeeper would also be this case.
PUBLIC GOOD ??" a public good is something that everyone can share, it does not belong to a specific person and cannot be consumed unlike a Big Mac, which is only around for the person eating it and dissolves when done.
1) Cowen and McChesney ??' introduce the two different sides, explain the issue, give an overview of what they say about funding and defunding artists, art councils, spaces, educational programs, stages theatres
Cowen states that
The free market/capitalism benefits the Avant Garde and the creation of new art. The costs of material are lower and so more people can make art and they do ot have to be rich in order to get the materials. The education of art will also benefit the artist. They wont be able to teach creativity, but they will be able to teach craft to better the creativity. With the free market system Cowen states that competition will go up and the quality will go up along with it. There will be more demand and thus more production. However, as McChesney states, wealth and financial insecurity leave people with nothing to loose and thus be more creative in pursuing art and challenging if not rejecting society values. The artistic vision might get corrupted with a corporate sponsor. Creators will copy rather than create, they will respond to past masterworks with emulation rather than differentiation. With the prevalence and ease of access more art forms will be available and innovations would not always have to eclipse older traditions, but will change inevitably. Outsiders and marginalized minorities will change more. CONVERGENCE MEDIA. If a person has less status quo, s/he will be more inclined to change more and challenge ??' just like the WPA artists during the second world war when great jazz musician and artists like Dizzy Gillespie and Jackson Pollock came to be. Those artists will also be able to put work out for everyone to access. Government should not act as bureaucracy. But fund artists for their creativity.
2) McChesney states that true art doesn't exist because of capitalism and thus free market does not work while Cowen supports the opposite.
Cowen states that employment in a free market works because it allows artists to work and create at the same time. Cowen states that patronage used to work, but now with employment everybody in a free market/capitalist system is a patron of the arts, for example everybody buys songs from iTunes. Back in the day a patron had someone to create the Sistine Chapel and the patron decided the content, the artist, the venue now with the free market there is freedom in ceation. There is a distinction between high (for the elite, not accessible) and low culture (very accessible). Sculpture, metal design, ballet is more intended for high culture. Culture depends on what is produced and Cowen suggests that there is a spectrum of the arts. Cost of materials are high so there is less freedom and creative works. There is a huge supply and demand; people who would be professionals and do not have money to create are at a great disadvantage as Cowen puts it. In a free market system marginalized voices will have more access to materials and having access to materials such as canvas and oils is important but expensive so this disadvantage cuts a lot of people. If costs go down in the free market, artists will be more willing to fail and be more likely to try new things and innovate.
As for the issue of training, in a free market environment, more students will have access to education. There are specific schools for arts however these schools are not cheap and very hard to get into so maybe the access is not really at a huge incline. Elitism is in a free market so training would turn into an elite action. In education what you learn is craftsmanship that is achieved over years of practice, however you are the one bringing in the creativity. In a free market environment there will be more competition and thus more quality. Quality rises because people demand more however McChesney states that the problem with that is when people demand they get in the way of creativity if they give too many details.
In the case of Oligopolies (companies with more than 2 owners), Cowen argues that media outlets are getting bigger and they have to survive so when new people come they merge and create a single patron ??' in this system interest is directed by profit. However, what motivates arts and artists is different then what motivates businesses. When you eliminate independent record and film companies we are rendered down to a single voice/opinion/bias and we are left with no creative control. If you give people what they want then people will not produce, you need to have something new to produce Avant Garde. Cowen states that people want what is available to them, they cannot want what they do not know. He sais that people gain a common interest and that media companies are led around by what the audience wants. McChesney states that this is not true and that oligopolies control the content. He states that the era of reality TV (which is something different and new) was launched when there was no money, a writer strike because it was easy: you did not need to pay actors or writer because there was no script, it was easy to create and there was absolutely no creativity.
On the topic of technology, Cowen states that it is a good thing because more people can use it to generate art, however McChesney does make a valid point in stating that the elite is controlling technology and that technology is designed to promote a particular point of view. Also technology does not always promote difference it sometimes bounds the person, if the person does not try and experiment and step out of the set rules. In the topic of creativity and who has the power McChesney states that if the government funds artists, then the government should be the patron of the arts. McChesney himself was a WPA artist. (Roosevelt funded artists and as a result lots of good work was created. Yes the government has its own agenda, but the result is better then what the free market promises states McChesney.
Cooperation makes it easier to make art and therefore to create social change
Money=attention=time
***Jenkins ??'
synopsis: Convergence Culture maps a new territory: where old and new media intersect, where grassroots and corporate media collide, where the power of the media producer and the power of the consumer interact in unpredictable ways. Henry Jenkins, one of America's most respected media analysts, delves beneath the new media hype to uncover the important cultural transformations that are taking place as media converge. He takes us into the secret world of Survivor Spoilers, where avid internet users pool their knowledge to unearth the show's secrets before they are revealed on the air. He introduces us to young Harry Potter fans who are writing their own Hogwarts tales while executives at Warner Brothers struggle for control of their franchise. He shows us how The Matrix has pushed transmedia storytelling to new levels, creating a fictional world where consumers track down bits of the story across multiple media channels.Jenkins argues that struggles over convergence will redefine the face of American popular culture. Industry leaders see opportunities to direct content across many channels to increase revenue and broaden markets. At the same time, consumers envision a liberated public sphere, free of network controls, in a decentralized media environment. Sometimes corporate and grassroots efforts reinforce each other, creating closer, more rewarding relations between media producers and consumers. Sometimes these two forces are at war. Jenkins provides a riveting introduction to the world where every story gets told and every brand gets sold across multiple media platforms. He explains the cultural shift that is occurring as consumers fight for control across disparate channels, changing the way we do business, elect our leaders, and educate our children
Jenkins talks about the transformation of consumers to producers. He discusses the issue of convergent media (seen below) and how it allows consumer to become part of the artistic experience. The audiences freely labor for the companies advertise by speech so producers do not need to spend so much time marketing.
***Course Reading along with lecture notes in museums and art (incorporate with the whole essay!!)
Lecture:
Technology changes and adapts as artists use them to create different styles. Appropriation of media and styles changes and adapts to technology for artistic needs
Now much more artists start to use the internet along with newcomers who use the internet to create art projects, photostreams etc.
There is a connection between technologies, visual art and the museum industry ??' there are many virtual museums along with regular ones
"A museum is a non-profit making, permanent institution in the service of society and of its development, and open to the public, which acquires, conserves, researches, communicates and exhibits, for purposes of study, education and enjoyment, material evidence of people and their environment. - ICOM
The government allows museums to be non-profit; museums are publicly profitable organizations
Art creates places for: social cohesion and civic participation, creates a safe educative environment, is a poverty fighter
Direct art jobs such us employment of creative workers, curators, commissioners help create thousand of indirect jobs such as purchasing of food, merchandise, and creates tourism etc.
A museums power as a single/free standing institution allows it to portray avant-garde work however, sometimes avant-garde does clash with institutions
Participatory culture shifts the focus of literacy training from individual expression onto community involvement: the new literacies are almost all social skills which have to do with collaboration and networking.
- Henry Jenkins, 2007
Participatory culture leads to broader issues: it creates collective intelligence, deliberate democracy, social capital, civic engagement, network society. ??' Museums are still elitist even though they look and appear participatory. Museums are partially open: the public rates which works they like the best, but in the end of the day it is up to the institution.
Reading:
Making Museums Matter by Stephen E. Weil
We used to value civic engagement, community, hard work, success stories, lush and open landscape in the US. The museums were classical, expensive, there was an exhibition of wealth, divine notions of superiority and domination. The purpose was to show richness, secure pwer, and celebrate the elite. They invited people into space and defined their virtue, uplifted and refined the public, showed the public what they mastered, showed that the ruling class mastered over the subservient class, share the values of the nation and also do philanthropy. Now there is more of a reflection of diversity of public in a society. Going to a museum is an inverting experience, it is a safe public space in an urban environment; if you are a minority, single mom you can go there if you want to have a controversial argument, if you want to feel like you belong, if you want a safe place to go to. There is a new ideology of service along with a doctrine of diversity. Philanthropy has turned to consumption, there is a decline in supporting the arts from the ruling elite, art became for of an investment now and collections in museums began to decline. The values of the nation transformed to individuality, diversity, paying tribute to people the US hurt in the war. As Cowen states public is the patron now, this occurred after the free market economy. People demand an acknowledgement of diversity, they are the patron of power in a museum and they wish for consolidation.
Museums are a safe place for exchange, deliberation, interaction, the institution changed drastically form inculcation to service; from an ideologically packed (packed with information) place to a neutral place where everybody could have a subjective experience. Avant-garde responds to what is democratic and changes it and moves it forward. Being avant-garde however, isnt a democratic process, not a fair process. You are always being evaluated by the rules they set forth for you, and you cannot pick the pictures you want to see in a museum.
***(might work in conclusion part) Should art that receives funding be subjected to community approval before appearing in a public space?
If the system is truly democratic then yes, but there will never be anyone who is not offended in some way, everyones spectrum is different so there should be a division of funds, and a council set forth through a democratic voting procedure to determine and speak for the public. In picking the council we must remember that the public of the avant-garde lies in the future. We must be open minded ??" something that art teaches us to do. We must not merely look at something, but we must see it in the context of the artist and the piece.
***Article ??' http://thecaucus.blogs.nytimes.com/2011/04/06/kevin-spacey-in-role-as-lobbyist-for-the-arts/?scp=1&sq=funding%20arts&st=cse (incorporate with whole essay ??" mostly with recommendation part because it is a relevant article about what is going on today)
3) Art is in the public interest during the economic crisis because
Conclusion: Resolutions/Recommendations ??" while both sides have valid points I recommend that we informed recommendations taken from readings and ties to the terms ??"

Would the government fund an artist that goes against the government itself?
Would it become a censor of the arts it funds.
However, NPR checks the government at times.
Recommendation how funds would be distributed

I agree with what Cowen has to say but the recommendations have to be political so if it does not work out I am not the one at blame: Major corporations already fund the arts ??" but the Avant Garde doesnt pop from the mainstream
Cowen states - give people what they want, but what they want isnt always good.

Soft Power: instilling and promoting the values of US culture into other countries through Hollywood films
Knowledge exports: the US doesnt produce much anymore; information is our biggest export along with innovation. LAs biggest export is the entertainment and arts business along with creative laborers
Convergent Media: is two portals delivering the same product (TV and text messaging interfacing on a similar product like for American Idol) ??' art is not only creation, there are people who create the materials like canvases, ink, the museum payments, the curator gets paid in the museum etc. like told in the lecture notes above
Vertical integration: when a company purchases al the ways in which a story or content gets delivered. Twilight is a film, a book series, has action figures, has a soundtrack. And together this changes the way decisions are made with art. Publisher makes a deal with a producer to produce.
Power to Negate ??' Jenkins says that new media has the power to be very democratic for peoples voices, but it also has the power to negate issues. In YouTube sexism and homophobia clips are run as parody and satire and diminishes the seriousness of these conditions. Museums and public space ??' peole decide what is appropriate or not to be in a museum or not. They decide what is beautiful or ugly, however who gives them the power to decide the whole option of what is appropriate and what is not appropriate. ??" do people even know what they want or are they just looking at something because it is there?
Participatory culture: Jenkins states that now we see more user generated content. The user has the ability of choice, rating and evaluation. This limits the type of product, stifles competition, lowers diversity and lowers incentive for company. This shift to participatory culture exploits advantages of media, creates multiple ways to sell content to consumer, and cements consumer loyalty in a fragmented marketplace, shapes consumer behavior. How ever thee is a gap where not everybody can join interaction, which is where media is going. Interaction promotes participatory culture, is predesigned for you and has an action/reaction that is pre planned.
??' People need a public sphere to discuss, to challenge to talk and put out their information
Public Sphere ??" Exchange of ideas and knowledge, an open form to exchange knowledge and free speech, the Internet is now a public sphere as Jenkins states. It is a tool for engagement that falls short.
Public Space ??" Open spaces for the public sphere to communicate and discuss ??" EX: Hyde Park
Monstrous Hybrid: preservation and production of culture is dependent upon capitalism - Inject a bit of commercial morality into guardian tasks, or vice versa, and you produce "monstrous hybrids."
Museums: maintain the culture, educate young people, help people open their minds and challenge their thought, museums are a portal into the past, present and future, they create awareness of ones world.





There are faxes for this order.

I am requesting a Critique on the journal article Zero-Based Arts Education: An Introduction to ARTS PROPEL by Howard Gardner which appeared in Studies in Art Education: A Journal of Issues and Research, 30 (2): 71-83. I would like least 8 references to be quoted in the piece. Below are the Gidelines for the Critique. I am assuming that you have access to search for the journal article. If not, please let me know. Thank you.

Guidlines
Components to include:

The Introduction - a short paragraph or two telling the reading what the purpose and scope of the review is.

TheOverview - enough detail so that the instructor know I read and understood the article. Include why the work was done, the basic findings, key materials and methods, and the author's conclusions.

The Evaluation - This has 4 objectives as follows:
1) Briefly present information on the background of the author, Howard Gardner.
2) Identify the purpose/agenda/viewpoint (whether stated or hidden) of the author.
3) Identify the argument(s) offered by the author and discuss whether you do/do not believe they have merit; in other workds, are the arguments sound. (I believe that they are.)
4) State the sources of information the author uses to make up the article and offer an opinion on whether you believe they are credible. (I believe they are credible.)

The Conclusion

Integrating Theory and Practice

The purpose of this paper is to provide you with an opportunity to enrich your skills/knowledge as a teacher in ways that you chose. Within the purview of the course topic, Teaching Adults, write two (or more) learning objectives for yourself for what you can learn by reading relevant research and scholarly writing. The objectives can center on more than one area of interest as long as they are integrated.

My learning objectives (I call them research questions?weird profs!) are:

What are the elements of a thriving Senior?s community arts program?
How effective is art theory in the field of physical therapy?

In order to meet your learning objectives, select and read 6-8 scholarly research articles that will help you meet your objectives. You will then write one paper (5-8 pages, so I ordered 6 pages) outlining the following:

Introduction

details your learning objectives, why you chose them (I chose them because I am a teaching artist that is integrating into the field of adult community art education), and the process for selecting readings about the topics.
A detailed discussion presenting and critiquing the literature findings relevant to your topics.
A summative discussion about specific ways you could incorporate your findings in to your own teaching. (I am a teaching artist in adult Arts education)
STRICT APA 6TH EDITION FORMATTING MUST APPLY THROUGHOUT THE ENTIRE PAPER.

Reports of this reading and your analysis of it will be shared with the rest of the class in the final class session.

Here are options for the Integrating paper: (but you, ?the writer?, may choose to use these?or not)

Brookfield, S.D. (2013). Powerful techniques for teaching adults. San Francisco, California: Jossey Bass Publishing.

Galbraith, M.W., Ed. (2004). Adult learning methods. (3rd ed.). Malabar, Florida: Krieger Publishing Company.

Merriam, S. & Caffarella, R. (1999). Learning in adulthood. (2nd Ed.) San Francisco, California: Jossey Bass Publishing.

THANK YOU FOR YOUR TIME AND CONSIDERATION! Kim Starley

There are two questions. Please provide one page for each question. Read each chapters to answer each question.

Read from your text, Developmentally Appropriate Curriculum:
Chapter 9: The Aesthetic Domain
Chapter 10: The Affective Domain
Chapter 11: The Cognitive Domain

The Kennedy Center: ArtsEdge. The National Standards for Arts Education. Retrieved from http://artsedge.kennedy-center.org/educators/standards.aspx
This website will assist you in completing the discussion assignment.



question 1. Locate a set of standards that relate to the arts or aesthetic learning. Read them through and select one or two that apply to a particular early childhood age group. Discuss how you could use these standards to plan an art activity for young children. You may use The National Standards for Arts Education website or choose any other state standards you would like.


question 2

Required Resources

Read from your text, Developmentally Appropriate Curriculum:
Chapter 15: Integrating Curriculum Through Pretend and Construction Play
Chapter 16: Integrating Curriculum Through Thematic Planning and Projects

Read the following article:
"Importance of Play" (http://www.goplayproject.org/2010/06/importance-of-play/)


Watch the following videos:
?Stuart Brown: Why Play Is Vital ? No Matter Your Age? (http://www.youtube.com/watch?v=HHwXlcHcTHc)
A pioneer in research on play, Stuart Brown says humor, games, roughhousing, flirtation and fantasy are more than just fun. Plenty of play in childhood makes for happy, smart adults ? and keeping it up can make us smarter at any age.
?TedxRochester ? Scott Eberle ? 11/02/09? (http://www.youtube.com/watch?v=jApW2tilJOI)
Scott G. Eberle develops exhibits on toys and play, and writes about these topics.
Recommended Reading

Helm, J. (1999). Critical issue: Organizing for effective Early Childhood programs and practices. North Central Regional Educational Laboratory. Retrieved from http://www.ncrel.org/sdrs/areas/issues/students/earlycld/ea100.htm
Organizing for Effective Early Childhood Programs and Practices



Review the article ?Importance of Play? (http://www.goplayproject.org/2010/06/importance-of-play/) and watch the videos, ?Stuart Brown: Why Play Is Vital ? No Matter Your Age? (http://www.youtube.com/watch?v=HHwXlcHcTHc) and ?TedxRochester ? Scott Eberle ? 11/02/09? (http://www.youtube.com/watch?v=jApW2tilJOI). Based on your reading for in this course and viewing of the videos, respond to the following: Why does resistance to including play exist in many school settings, and what role might you play as a member of the teaching team in one of these settings? Be sure to include strategies and developmentally appropriate activities that support play to meet the needs of young children in your discussion. Respond to at least two of your classmates? postings.

I would like this PERSUASIVE ESSAY (arguing AGAINST school to work programs)to include some background information about what the school to work program is and current estimates of how pervasive these programs are (especially in the United States). Also, please include why schools are moving toward this initiative and, obviously, how students are missing out on a liberal arts education when schools promote "trade educations." Please, please utilize all four pages requested. Thank you so much!

Course Name: Performance Creation I

The Book Chosen to write in the book report:
Teaching Children Dance (Second Edition) -2005

Author(s): Theresa Purcell Cone, Stephen L. Cone

INSTRUCTION of the book report:
In this assignment you willl have the opportunity to choose and read a book which speaks to performance creation, and write a 800-1000 words summary of the book. Your summary should include: the name of the book and author; the author(s) intent; how well the author met her or his objectives, who you would recommend read the book and why. Is the book worth the price tag and why? (for the book I chose, the regular market price of this book is: $26.00 (U.S. dollars)

Your grade will be based on the quality of your inquiry and composition:
- clear and well organized thoughts
- substantiated opinions
- insight/ insite
- bibliography

* NOTE: Teaching Children Dance contains a practical framework and approach for presenting creative dance lessons to children in kindergarten to fifth grade. It combines essential dance content appropriate for an elementary-level program with detailed descriptions of strategies. Featuring 20 dance learning experiences, the book has been updated and expanded to reflect educators renewed commitment to making dance an integral part of childrens education.

Youll learn to view dance as an art form while improving your teaching and increasing your confidence. Youll also learn the benefits of introducing dance to elementary students, the most effective ways to teach it, and what to teach and when to teach it.

In part I, youll find a wealth of new content, including ideas on how to design and present a dance learning experience composed of units and lessons, suggestions for classroom management, updated assessment content, and strategies for interdisciplinary connections.

Part II presents 20 dance learning experiences, reorganized for easy reference into two categories: kindergarten to second grade and third to fifth grade. These ready-to-use experiences walk you step by step through the dance process, beginning with an introduction and ending with a dance. Use experiences from either category as a series or dance uniteither way, youll set a welcoming environment for learning and creating.

Other features include the following:
Questions for reflection at the end of each chapter encourage teachers to apply the content to their own teaching style and preferences.
Nuts and bolts for presenting dance learning experiences ensure adherence to national and state standards.
New photographs and illustrations make the book visually attractive and show the ideas presented in action.

About the Author
Theresa Purcell Cone, PhD, is a physical education and dance teacher at Brunswick Acres Elementary School in Kendall Park, New Jersey, where she also directs a childrens dance company. She is also an adjunct professor at Rowan University in New Jersey and a teacher and choreographer at the Princeton Ballet School.

Dr. Cone is a past president of the National Dance Association and was named its first K-12 Dance Educator of the Year. She is also a member of the National Dance Education Organization, the Alliance for Arts Education/New Jersey, and numerous other professional organizations. Dr. Cone was coauthor of Interdisciplinary Teaching Through Physical Education (Human Kinetics, 1998).

In 2004, Dr. Cone was awarded a Presidential Citation by the American Alliance for Health, Physical Education, Recreation and Dance. She also was awarded the Margie R. Hanson Distinguished Service Award by the National Association for Sport and Physical Education. Dr. Cone received her doctorate in dance from Temple University.

Stephen L. Cone, PhD, is a professor in the department of health and exercise science at Rowan University in New Jersey. Previously, he was chair of the physical education department at Keene State College in New Hampshire.

Dr. Cone is past president of the American Alliance for Health, Physical Education, Recreation and Dance (AAHPERD) and received their Honor Award in 2000. He is also a member of the New Jersey AHPERD, the Alliance for Arts Education/New Jersey, and numerous other professional organizations. He has written dozens of articles for physical education publications and was coauthor of Interdisciplinary Teaching Through Physical Education (Human Kinetics, 1998).

Dr. Cone was made a charter fellow in the North American Society for Health, Physical Education, Recreation, Sport and Dance Professionals in 2000. He also was named an American Council on Education fellow in 1993-94. He received a Presidential Citation from the National Dance Association in 1995. Dr. Cone earned his doctorate in motor learning and sport psychology from Texas A&M University.

Table of Contents
Preface

Part I: A Framework for Teaching Childrens Dance

Chapter 1: Understanding the Importance of Teaching Childrens Dance
What Is Childrens Dance?
Why Teach Childrens Dance?
What Are the Benefits and Learning Outcomes of Childrens Dance?
Summary
Questions for Reflection

Chapter 2: Presenting Essential Content for Childrens Dance
The Elements of Dance
The Body
Space
Time
Force
Flow
Relationships
Dance Forms
Summary
Questions for Reflection

Chapter 3: Designing a Dance Program
Planning a Yearlong Dance Program
Planning a Dance Unit
Planning the Dance Lessons
Interdisciplinary Connections
Summary
Questions for Reflection

Chapter 4: Creating a Dance Education Setting
Class Size
Equipment and Teaching Materials
Facilities
Class Frequency and Length
Community Characteristics
School Policies
Program Advocacy
Summary
Questions for Reflection

Chapter 5: Making Teaching Effective
Using Different Teaching Styles
Helping All Children Learn
Motivating Learners
Establishing Protocols and Rules
Making the Classroom Safe
Presenting Demonstrations
Providing Feedback
Engaging Students in Performances
Observing Dance
Summary
Questions for Reflection

Chapter 6: Assessing Childrens Learning in Dance
Assessment of Teaching Effectiveness
Teacher Assessment of Students
Peer Assessment
Student Self-Assessment
Summary
Questions for Reflection

Part II: Learning Experiences for Childrens Dance

Chapter 7: Learning Experiences for Kindergarten, First, and Second Grades
Neighborhood Friendship Streamer Dance
Floating Clouds and Rain Showers
Run, Hop, Jump, Skip
The Playground
Ocean Waves and Swimmers
Spaghetti Dance
Balloons
Percussion Instrument Dance
The Hungry Cat
Circus Dance

Chapter 8: Learning Experiences for Third, Fourth, and Fifth Grades
Dancing Homework Machine
Creative Square Dance
Action Words
Float and Punch
Baseball Dance
Bubbles
Birthday Celebration
Partner Dance
Sport Dance
Dance Maps

Overall Learning Objective
This PAPER is about the understanding of assessing and developing the survey research methodology within an educational setting. (Use survey research method to determine attitudes and behavioral intentions of the students in a university regarding their acceptance of e-learning.) This paper has three parts; Abstract(1 page)+29 pages for first part, 25 pages plus 15 annotated references for second part, and 5 pages for the last part.(Total 75 pages) (Template of the paper is in Appendix A)
The first part, the breadth component, will identify the differences between three important research paradigms. Then, define, compare, and contrast various types of research methodologies with a particular emphasis on survey research methodology, using a selected bibliography to evaluate the methods.
Second part, the depth component will present the strengths and weaknesses of the survey methodology, evaluate data collection instruments and sampling strategies, and outline the key steps that must be taken to ensure successful use of the approach. This part will also include 15 annotated literature review including particularly relevant studies and dissertations (I have attached some literatures, you may have to find the rest), and an assessment of the research methods and findings covered in the literature, which may be applied to my dissertation.
The third part, application component will provide details of how the survey research method will be specifically used in my thesis work.(to determine attitudes and behavioral intentions of the students in a private university in a rural area of Nigeria regarding their acceptance of e-learning???This can be done by identifying a problem for the research, the research purpose, research questions, theoretical foundations of the proposed research, and the methodology used to conduct the research.


PART 1: The Breadth Component
Breadth Objectives
The objectives of this part are to:
1. Identify the differences between positivist, constructivist, and pragmatic research paradigms.
2. Define a wide range of commonly used quantitative and qualitative research methods in social and behavioral sciences, with a particular emphasis on survey research methodology.
3. Compare and contrast the survey research methodology against other research approaches.

Breadth Demonstration
For a demonstration, I will prepare a bibliography covering the survey and other research methodologies, and write an essay of approximately 30 pages that meets all the objectives I have outlined above.

Breadth References
The materials to be reviewed and interpreted in this paper include, but are not limited to, the following resources:
Babbie, E. (1990). Survey research methods (2nd ed.). Belmont, CA: Wadsworth Publishing Company.
Babbie, E. (2009). The practice of social research (12th ed.). Belmont, CA: Wadsworth/Thompson Learning.
Campbell, D. T., & Stanley, J. C. (1963). Experimental and quasi-experimental designs for research. Chicago: Rand McNally & Company.
Creswell, J. W. (1998). Qualitative inquiry and research design: Choosing among Five Traditions. Thousand Oaks, CA: Sage Publications.
Creswell, J. W. (2003). Research design: Qualitative, quantitative, and mixed methods approaches (2nd ed.). Thousand Oaks, CA: Sage Publications.
Leedy, P. D., & Ormrod, J. E. (2001). Practical research: Planning and design (7th ed.). Upper Saddle River, NJ: Merill/Prentice Hall.
Maxwell, J. A. (1996). Qualitative research design: An iterative approach. Thousand Oaks, CA: Sage Publications.
Singleton, R. A. Jr., & Straits, B. C. (2005). Approaches to social research (4th ed.). New York: Oxford University Press.

PART 2: The Depth Component
Depth Objectives
The objectives of this part are to:
1. Present the strengths and weaknesses of the survey methodology.
2. Evaluate data collection instruments and sampling strategies used in the survey research.
3. Delineate key steps that must be taken to ensure successful use of this approach.

Depth Demonstration
For the annotated bibliography, I will prepare a minimum of 15 annotated literature reviews including particularly relevant studies and dissertations that apply similar research methodology dissertations (I have attached some literatures, you may have to find the rest). Then, I will prepare a written assessment essay of approximately 25 pages on how this research method may fortify my dissertation research design.

Depth References
The materials to be reviewed and interpreted in this paper include, but are not limited to, the following resources:
Babbie, E. (1990). Survey research methods (2nd ed.). Belmont, CA: Wadsworth Publishing Company.
Celik H. (2008).What determines Turkish customers' acceptance of internet banking? The International Journal of Bank Marketing, 26(5), 353-370. Retrieved from ProQuest Central database.
Dwivedi, Y. K., Williams, M. D., Weerakkody, V., Lal, B., & Bhatt, S. (2008). Understanding Factors Affecting Consumer Adoption of Broadband in India: A Pilot Study. Journal of Cases in Information Technology, 10 (3), 35-48. Retrieved from ProQuest Central database.
Fink, A. (2002). The survey handbook. Thousand Oaks, CA: Sage.
Fowler, F. (2002). Survey research methods. Thousand Oaks, CA: Sage.
Li, Y. (2006). Certified health education specialists' opinions regarding direct third party reimbursement for health education services. Retrieved from ProQuest Digital Dissertations. (AAT 3228771)
Murrey, C. (2009). Beliefs and attitudes regarding health-enhancing behaviors in African American and Caucasian women. Retrieved from ProQuest Digital Dissertations. (AAT 3355023)
Petherbridge, D. T. (2007). A concerns-based approach to the adoption of Web-based learning management systems. Retrieved from ProQuest Digital Dissertations. (AAT 3269445)
Ratten, V., & Ratten, H. (2007). Social cognitive theory in technological innovations. European Journal of Innovation Management, 10 (1), 90-108. Retrieved from ProQuest Central database.
Reynolds, R. B. (2008). A study to determine first year medical students' intention to use electronic health records. Retrieved from ProQuest Digital Dissertations. (AAT 3310126)
Tan, X. (2006). Understanding information systems developers' modeling method continuance: A theoretical model and an empirical test. Retrieved from ProQuest Digital Dissertations. (AAT 3216340)

PART 3: The Application Component
Application Objectives
The objectives of this part are to provide details of how the survey research methodology will be used to determine attitudes and behavioral intentions of the students in a private university in a rural area of Nigeria regarding their acceptance of e-learning. In this section I will:
1. Identify a problem of the research, the purpose of the research, the research questions, and the research hypotheses.
2. Present the theoretical foundations of the proposed research model and hypotheses.
3. Explain the methodology used to conduct the research and provide an overview of the target population, data collection and analysis of the data.

Application Demonstration
In this paper, approximately 5 pages, I will design a prototype of the proposal by identifying a problem for the research, the research purpose, research questions, research hypotheses, theoretical foundations of the proposed research, and the methodology used to conduct the research.

Application References
The materials to be reviewed and interpreted in this paper include, but are not limited to, the following resources:
Altinay, L., & Paraskevas, A. (2008). Planning Research in Hospitality and Tourism. Oxford: Butterworth Heinemann.
Babbie, E. ( 1999). The basics of social research. Belmont, CA: Wadsworth
Babbie, E. (2009). The practice of social research (12th ed.). Belmont, CA: Wadsworth/Thompson Learning.
Creswell, J. W. (2003). Research design: Qualitative, quantitative, and mixed methods Approaches (2nd ed.). Thousand Oaks, CA: Sage Publications.
Dooley, D. (2001). Social research methods (4th ed.) Upper Saddle River, NJ: Prentice Hall.
Fowler, F. (2002). Survey research methods. Thousand Oaks, CA: Sage.
Gall, M. D., Gall, J. P., & Bong, W. R. (2003). Educational research: An introduction (7th ed.). Boston: Pearson Education.
Leedy, P. D., & Ormrod, J. E. (2001). Practical research: Planning and design (7th ed.). Upper Saddle River, NJ: Merill/Prentice Hall.
Newman, I., & Benz, C. R. (1998). Qualitative-quantitative research methodology: Exploring the interactive continuum. Carbondale, IL: Southern Illinois University Press
Singleton, R. A. Jr., & Straits, B. C. (2005). Approaches to social research (4th ed.). New York: Oxford University Press.
Yamane, T. (1967). Statistics: An introductory analysis (2nd ed.). New York: Harper & Row.




Appendix A

PAPER TEMPLATE

ABSTRACT
Breadth
This should not exceed 120 words. Note that APA abstracts are not indented. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract.

ABSTRACT
Depth
This should not exceed 120 words. Note that APA abstracts are not indented. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract.

ABSTRACT
Application
This should not exceed 120 words. Note that APA abstracts are not indented. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract.


TABLE OF CONTENTS
BREADTH 1
Level 1 Head 1
Level 3 Head 1
Another Level 3 Head 2
Another Level 3 Head 3
DEPTH 4
Annotated Bibliography 4
Literature Review Essay 5
Level 3 Head 6
Another Level 3 Head 7
APPLICATION 8
Level 1 Head 8
Level 3 Head 8
Another Level 3 Head 9
Discussion 9
REFERENCES 11



BREADTH

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Level 1 Head

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Level 3 Head

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AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz.
Another Level 3 Head

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Another Level 3 Head

AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz.
And so on until the Depth . . .

DEPTH

Annotated Bibliography

Dwivedi, Y. K., Williams, M. D., Weerakkody, V., Lal, B., & Bhatt, S. (2008). Understanding Factors Affecting Consumer Adoption of Broadband in India: A Pilot Study. Journal of Cases in Information Technology, 10 (3), 35-48. Retrieved from ProQuest Central database.

Each annotation should be a page or page and a half long. This paragraph should contain a summary of the research method and its findings. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz.
This paragraph should be a critical assessment of the article. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz.
This paragraph should be a statement about the value of this article for your research agenda or your profession generally. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz.
Next annotation reference entry here
AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. And so on
Literature Review Essay

AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz.
Level 3 Head

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AAA bbb cccccccccccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeeeeeeeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnnnnnnnnn oooooooooooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffffffffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvvvvvvvvv wwww xxxx yyyy zzzz. AAAAAAAAA bbb cccc ddddddddddd eeee ffff ggggggggggggg hhhh iiii jjjjjjjjjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttttttttttt uuuu vvvv wwww xxxx yyyy zzzz.
Another Level 3 Head
AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz.
And so on until the Application . . .


APPLICATION

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Level 1 Head

AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz.
Level 3 Head

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Another Level 3 Head

AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz.
Discussion

The discussion should show how te project has been informed by the theories in the Breadth component and/or the research in the Depth component. It should be about 10 pages. aaa bbb ccc ddd eee fff ggg hhh iii jjj kkk lll mmm nnn ooo ppp qqq rrr sss ttt uuu vvv www xxx yyy zzz aaa bbb ccc ddd eee fff ggg hhh iii jjj kkk lll mmm nnn ooo ppp qqq rrr sss ttt uuu vvv www xxx yyy zzz aaa bbb ccc ddd eee fff ggg hhh iii jjj kkk lll mmm nnn ooo ppp qqq rrr sss ttt uuu vvv www xxx yyy zzz aaa bbb ccc ddd eee fff ggg hhh iii jjj kkk lll mmm nnn ooo ppp qqq rrr sss ttt uuu vvv www xxx yyy zzz
And so on to the reference list . . . .

REFERENCES

Andrade, H. G. (2005). Teaching with rubrics: The good, the bad, and the ugly. College Teaching, 53, 27. doi: 10.3200/CTCH.53.1.27-31

Csikszentmilhalyi, M. (1996). Creativity. New York: Harper Collins.

Geertz, C. (1973). The interpretation of cultures. New York: Basic Books.

Lee, J. (2003). Implementing high standards in urban schools: Problems and solutions. Phi Delta Kappan, 84(6), 449-455.

No Child Left Behind (NCLB) Act of 2001, Pub. L. No. 107-110, 115, Stat. 1425 (2002).

Merriam, S. B. (1998). Qualitative research and case study applications in education. San Francisco: Jossey-Bass.

Restak, R. M. (2001). The secret life of the brain. Thousand Oaks, CA: Richard M. Restak and David Grubin Productions, Inc.

Silver, A. (2003). Missing links: On studying the connection of arts education to the public good. Arts Education Policy Review, 104(3), 21-26.

There are faxes for this order.

PLEASE RESPOND TO THE FOLLOWING QUESTION(500 words or less):

Pepperdine's scholarly community equips students with a liberal arts education in Christian values. our commitment to integrating faith and learning challenges our students to understand that the gift of knowledge ultimatley calls for a life of service. with this commitment in mind, please respond:


Tell us how the integration of faith and learning can prepare you for a life of service, and discuss the impoact service-learning canhave on the renewing of your mind, spirit, and community.

****Request for Writer AWEST*******

This PAPER is about the understanding of theories of applied management and decision sciences, with an emphasis on attempting to find an effective methodology that contributes to the efficiency of the decision-making process in higher education.
This paper has three parts; Abstract(1 page)+29 pages for first part, 25 pages plus 15 annotated references for second part, and 20 pages for the last part.(Total 90 pages) (Template of the paper is in Appendix B)

The first part, the breadth component, will examine theories of applied management and decision sciences from various theorists; analyze the evolution of managerial decision making from scientific management to the complicated forecasting models used today. Second part, the depth component will evaluate the usefulness of various tools formed to enhance decision making in management, particularly in terms of their applicability to decision making in university circles as well as critically assess recent research which addresses the application of diverse decision methodologies. The third part, application component will utilize the pertinent decision making tools to assess the feasibility of a new program at Zomba University Isoka Campus.

PART 1: The Breadth Component
Objective

The objectives of this part are to:
Examine the theories of applied management and decision sciences as interpreted by the research of Ducker (1974), Newman (1971), Harrison (1975), and others as listed in the reference section.
Analyze the historic evolution of decision making from scientific management to modern applications of operations research.
Examine the decision making process, with a particular emphasis on the importance of values and management judgment.
Describe, assess, and evaluate various decision evaluation tools included: Matrix analysis, influence diagrams, payoff matrices, sensitivity analysis, decision tree, propabilistic forecasting, and multi-attribute utility analysis.

B. Learning Resources

The materials to be reviewed and interpreted in this part include, but are not limited to, the following resources:
Carter, W. M., & Price, C. C. (2001). Operations research: A practical introduction. Boca Raton, Florida: CRC Press.

Deming, W. E. (1982) Out of the Crisis: Quality, Productivity and Competitive Position. Cambridge University Press, New York.

Drucker, P. (1974). Management: tasks, responsibilities, practices. New York: Harper & Row, Publishers.

Harrison, E. F. (1975). The managerial decision-making process. Boston, USA: Houghton Mifflin Company.

Hogarth, R. M. (1987). Judgment and choice: The psychology of decision. Chichester [West Sussex], New York: John Wiley & Sons, Ltd.

Miller, D. W. & Starr, R. (1967). The structure of human decisions. Englewood Cliffs, NJ: Prentice Hall.

Mintzberg, H. (1994). The rise and fall of strategic planning. New York: The Free Press.

Newman, J. W. (1971). Management Application of Decision Theory. New York: Harper & Row.

Odiorne, G. (1965). Management by Objectives: A system of managerial leadership. New York: Pitman Publishing Company.

Senge, P. (1990). The Fifth Discipline. New York: Doubleday.

Taylor, F. W. (1911/1998). The Principles of Scientific Management. Mineola, NY: Dover Publications, Inc.

Wren, A. D. (2005). The history of management thought. Danvers, MA: John Wiley & Sons, Inc.

C. Criteria for Evaluation
In a paper of approximately 30 pages, first, I will discuss the components of a good decision, as articulated by aforementioned theorists. Second, I will trace the historic evolution of management thought, compare each approach, and critique the implications of each on the management decision making process. Third, I will describe the steps in decision making process, focusing on the importance of values and management judgment. Finally, I will describe various decision evaluation tools and evaluate each tool in terms of its strengths and weaknesses, its relationships to other tools, and its incorporation into management judgment.

PART 2: The Depth Component
A. Objective

The objectives of this part are to:
Explore and assess recent research-based knowledge concerning the role of quantitative models and tools in higher education decision making. Describe the prevalent models currently used in most universities and judge their relative merits.
Evaluate the significance of each of the decision-making methods explained in the breadth component for higher education administration. Describe the management fads which have evolved through university administration and critically analyze why each had failed.

B. Learning Resources
The materials to be reviewed and interpreted in this part include, but are not limited to, the following resources:
Begi?evi?, N., Divjak, B., Hunjak, T. (2007). Development of AHP based model for decision making on e-learning. Journal of Information and Organizational Sciences, 31, 1, 13-24.

Birnbaum, R. (2000). Management fads in higher education: Where they come from, what they do, why they fail. San Francisco: Jossey-Bass.

Birnbaum, R. (2000). The life cycle of academic management fads. The journal of Higher Education, 71, 1, 1-16

Cheng, T. (1993). Operations research and higher education administration. Journal of Education Administration, 31, 1, 77-92.

Goho, J., & Webb, D. (2003). Planning for success: Integrating analysis with decision making. Community College Journal of Research and Practice, 27, 5, 377-391.

Harter, E. A., England, M. D. (2002). Using course load matrix analysis to support departmental planning for enrollment expansion. Paper presented at the annual meeting of the Association for Institutional Research, Toronto, Ontario, Canada. (ERIC Document Reproduction Service No. ED474035)

Hoverstad, R. Sylvester, R., Voss, K. E. (2001). The expected monetary value of a student: a model and example. Journal of Marketing for Higher Education, 10, 4, 51-62.

Lewis, D. R., Kallsen, L. A., (1993). Using Multiattribute Evaluation Techniques for Assisting Reallocation Decisions in Higher Education. Paper presented at the annual meeting of the Association for the Study of Higher Education, Pittsburgh, PA. (ERIC Document Reproduction Service No. ED365191)
Schroeder, R. G. (1973). A survey of management science in university operations. Management Science, 19, 8, 895-906.

Shriberg, M. (2002). Institutional assessment tools for sustainability in higher education: strengths, weaknesses, and implications for theory and practice. Higher Education Policy, 15, 13-167.

Thomas, E. H., & Galambos, N. (2004).What satisfies students? Mining student-opinion data with regression and decision tree analysis. Research in Higher Education, 45, 3, 251-269.

Wan Endut, W., Abdullah, M., & Husain, N. (2000). Benchmarking institutions of higher education. Total Quality Management, 11, 4/5&6, 796-799.


C. Criteria for Evaluation
For annotated bibliography, I will critically analyze a minimum of 15 journal articles addressing the application of various decision methodologies to higher education administration. Then, I will write a paper of approximately 25 pages corresponding to the evolution of management techniques in higher education with the evolution of methods used in businesses described in the breadth component.


PART 3: The Application Component
A. Objective
The objectives of this part are to:
Examine the decision making process used by Zomba University Isoka Campus in launching a new program and apply the decision science theories that will be learned and demonstrated in the preceding components.
Develop a decision model for analyzing the feasibility of a new program at Zomba University Isoka Campus and make recommendations to the universitys director.

B. Learning Resources
The materials to be reviewed and interpreted in this part include, but are not limited to, the following resources:

Bertsch, T. (2000). Planning for results-oriented higher education in the 21st Century. Advances in Cmpetitiveness Research, 8, 1, 110-120.

Lerner, A. L. (1999). A Strategic Planning Primer for Higher Education. Retrieved on October 1, 2008 from http://www.sonoma.edu/aa/planning/Strategic_Planning_ Primer.pdf

Welsh, J. F., Nunez, W. J., Petrosko, J. (2005). Faculty and administrative support for strategic planning: a comparison of two- and four-year institutions. Community College Review, 32, 4, 20-39.
.


C. Criteria for Evaluation
In the paper of approximately 20 pages, I will first explain the process used by Zomba University Isoka Campus in launching their new program(background of the university is in Appendix A). Using the model analyzed from the Breadth and Depth components with additional relevant materials, I will analyze the decision to launch the new program. After assessing implications of the new program, I will propose the methodology to the universitys director for use as a protocol for evaluating other programs that will be launched in the future.



Appendix A

Background of Zomba University Isoka Campus

In 1998, Zomba University Isoka Campus was established in the Isoka province of northern Zambia. Its mandate is to increase and disperse higher educational opportunities for Zambia students in rural area. By integrating two-way communication videoconference technology and processes with its traditional instructor led classroom delivery system, Zomba University Isoka Campus is able to offer Zambia students undergraduate and graduate level degrees through this approach.
While the university's strategy has succeeded in providing the university with a large increase in its student population, it has also presented the university with additional challenges.
First, the dramatic growth in student enrolment from 100 in 2003 to 8,056 in 2007 is not accompanied by a corresponding increase in infrastructure. This naturally resulted in overcrowded lecture halls and other facilities. Under such conditions the teaching and learning process is bound to be very ineffective.
Second, staff recruitment is far less than the growth in student enrolment so the staff-student ratio is high at the Zomba University Isoka Campus. This also rendered teaching and the supervision of student research very difficult.
Third, Laboratory equipment is grossly insufficient for the number of students enrolled for such courses. This either resulted in students shifting to other faculties or ineffectiveness in the teaching and learning process.
The last most important is that the programs offered by the university do not correspond to the academic needs of the tens of thousands of students who left secondary school every year. This is because new programs offered each year which should be informed by an objective decision capability is inherently dominated by administrators intuition or guess.
These factors affected both the motivation and possibilities of the students and therefore resulted in low academic performance and capacity.
The curricula offered each year do not correspond to the demand of the expanding private sector, market forces and the increasing tendency of the government towards retrenchment and down sizing of the public service manpower. The number of unemployed graduates is growing in the society. This is mostly due to the fact that the skills acquired in the university are highly inadequate for the requirements of the labor market. The general picture of the university community is that of a demoralized and de-motivated academic and non-academic staff. The situation is highly compounded by the following problems:
Lack of an Active Strategic Plan: The University does not have a current Strategic Plan. Although the university has a clear vision and mission statements (attachment 1), they do not transform these statements into Strategies and Time Bound Objectives; i.e., development of strategic plans. Factors such as rapidly changing system priorities, changing university leadership, severe budget reductions, and economic/demographic challenges, have all impeded university planning efforts.

Lack of a Planning Process: The university constituents indicated that the planning initiatives of the past several years seem to be centered upon top level university planning. There is no strategic planning process, planning is uneven, there is a lack of horizontal and vertical coordination among planning groups, planning is not specifically tied back to university priorities and mission, few department heads lead their staffs in strategic planning activities, input is not gathered from all levels of the university, and there is no staff development on how to conduct and organize planning. When planning is selective, not broad-based or systematic, the universitys leadership risks overlooking critical and relevant needs.
Parts of the institution, even basic ones, may be left behind. Priorities and resource allocations set under these conditions may not accurately match the university needs or best interests.

Lack of a Resource Allocation Process Linked to Planning: Most university constituents indicated that they did not believe that there was any linkage between planning and resource allocation. The budget process is top-down and departments give little input on decisions, there is no explanation of resource allocation decisions, there is a lack of goal clarity which makes linkage to resources difficult, faculty have a difficult time understanding or accepting resource allocation decisions, the budget situation rather than programmatic need appears to dictate personnel decisions, and resource allocation information is not readily available. The university budget model is not shared with or explained to campus constituents on a regular basis, and it does not clearly demonstrate linkages to planning efforts.

Lack of Effective Communication: Campus constituents were generally dissatisfied with communications regarding planning, resource allocation, and assessment activities. This is not surprising, for so far the creation of a planning process has concentrated on the upper leadership of the university. Constituents felt that not all administrators communicate or explain planning and resource allocation decisions to unit personnel; the top-level administration does not consistently communicate its actions to departmental chairpersons and staff members; employees do not always understand the relevance of planning efforts to their individual units; most unit heads do not engage in strategic planning; and reciprocal communication needs to be improved. It is evident that personnel cannot be very engaged in the strategic planning process, and that communication, including engagement, requires improvement.


Attachment 1

University Mission
Zomba University Isoka Campus is striving to be upgraded as an autonomous state university specializing in both social science and science and technology in order to produce higher qualified and internationally standardized graduates. The university is also aiming to construct novel body of knowledge by seeming out partnership and to establish academic network domestically and internationally so as to achieve the state of leading academic excellence. In addition, the university will serve as an academic resource for guiding societies and communities and for building up Zambia peoples awareness to perceive the needs of changing of thinking process, attitudes and working system for effective development of the nation. Furthermore, the university will also train its graduates to pursue changes in global societies, be able to utilize knowledge and technology wisely and appropriately and be flexible for any changes. Importantly, students have to well-equipped with good morals also.

University Vision
Zomba University Isoka Campus as a highly recognized and standardized institute is committed to widening access to higher education and create equal educational opportunities for students particularly in the northern part of Zambia. The curriculum is divided into two branches: one is social science studies; the other is science and technlogy in accordance with the needs of society and the country. Moreover, the university participates in many aspects of community services and has significant aim as follows:
1. Producing graduates
Zomba University Isoka Campus has the main continual mission to develop human resources at all levels with the hope that the human resource development is crucial factor for the sustainable growth of the country and helps move aside from economic stagnation. For these reasons, the university focuses on educating students to be internationally well-trained and well-qualifies for all types of national and international work. Also, to produce both undergraduates and graduates, it is conducts with partnership and establishment of network with prestigious universities locally and internationally in order to upgrade lecturers potentials and academic standard. Besides, the university has to adjust itself as a dynamic university with diversities of objectives to develop national manpower at all level continually.
The aims are also to develop students skill of work and local wisdom career.Students as national workforce must be equipped with the awareness of human being and being good members of Zambia and global societies. Simultaneously, the prospect of higher education must have diversities to cover those who aiming for and being in labor market.

2. Research
Zomba University Isoka Campus intends to support and develop all kinds of academic research, especially in applied studies, to enhance social development and national economic growth. For example, study of modern technology to improve manufacturing systems relying more on technology than man power or raw materials, study of the sufficient ways to depend on natural resources, restore nature and preserve the environment, study of the management of the public health and the list goes on. Moreover, Zomba University Isoka Campus will focus more on the parallel between fundamental and applied research. In so doing, Zomba University Isoka Campus attempts to integrate several related primary studies as much as possible to create more advanced level of study. The outcome of applied research will not only be practical in universitys classes but also will indicate the national ability to rely on our knowledge in the process of developing the country. Zomba University Isoka Campus also plans to conduct this project by initiating the partnership or networking with other researches in both domestic and international universities to become world-class university.

3. Academic services
Zomba University Isoka Campus will contribute to the society the variety of academic services. Zomba University Isoka Campus, in some cases, to co-operate with the public organizations that have financial support, for example, public company limited and international industry. The university aims to collaborate with the public institutions by offering them academic services, such as the public testing center in various fields. This support will be held in partnership and networking systems in order to promote the universitys reputation as well as to receive public acceptance.

4. Art and Cultural Conservation
Zomba University Isoka Campus realizes that art and cultural heritage will become more and more important in the future. In the globalization world, Zomba University Isoka Campus believes that the Zambia art and cultural awareness bring sustainable development of the nation in the context of cultural assimilation and social domination. The concept of cultural conservation is not simply limited to the national art and culture, but should extend to the true awareness and the pride of being Zambia. This realization helps maintain the cultural identity and enhances the feeling of love and awareness to improve the society. We expect that all the universitys members take pride of being Zambia.


Organizational structure






















Degrees Available
a. Bachelors Degree
1. Bachelor of Science (B.S)
2. Bachelor of Business Administration (B.B.A.)
3. Bachelor of Accounting (B.Acc.)
4. Bachelor of Communication Arts (B.Com.)
5. Bachelor of Arts (B.A.)
6. Bachelor of Laws (LL.B.)
7. Bachelor of Engineering (B.Eng.)
8. Bachelor of Nursing Science (B.N.S.)
9. Bachelor of Public Health (B.P.H.)
b. Graduate School
1. Master of Science (M.S)
2. Master of Business Administration (M.B.A.)
3. Master of Arts (M.A.)
4. Master of Public Health (M.P.H.)
5. Master of Education (M.Ed.)




Appendix B

PAPER TEMPLATE

ABSTRACT
Breadth
This should not exceed 120 words. Note that APA abstracts are not indented. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract. Text of Breadth abstract.

ABSTRACT
Depth
This should not exceed 120 words. Note that APA abstracts are not indented. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract. Text of Depth abstract.

ABSTRACT
Application
This should not exceed 120 words. Note that APA abstracts are not indented. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract. Text of Application abstract.
TABLE OF CONTENTS
BREADTH 1
Level 1 Head 1
Level 3 Head 1
Another Level 3 Head 2
Another Level 3 Head 3
DEPTH 4
Annotated Bibliography 4
Literature Review Essay 5
Level 3 Head 6
Another Level 3 Head 7
APPLICATION 8
Level 1 Head 8
Level 3 Head 8
Another Level 3 Head 9
Discussion 9
REFERENCES 11



BREADTH

AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz.
Level 1 Head

AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyyzzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz.
Level 3 Head

AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz.
AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz.
Another Level 3 Head

AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz.
Another Level 3 Head

AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz.
And so on until the Depth . . .

DEPTH

Annotated Bibliography

Andrade, H. G. (2005). Teaching with rubrics: The good, the bad, and the ugly. College Teaching, 53, 27. Retrieved June 28, 2007, from EBSCOhost database.

Each annotation should be a page or page and a half long. This paragraph should contain a summary of the research method and its findings. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz.
This paragraph should be a critical assessment of the article. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz.
This paragraph should be a statement about the value of this article for your research agenda or your profession generally. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz.
Next annotation reference entry here
AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. And so on
Literature Review Essay

AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz.
Level 3 Head

AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz.
AAA bbb cccccccccccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeeeeeeeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnnnnnnnnn oooooooooooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffffffffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss ttttuuuu vvvvvvvvvvv wwww xxxx yyyy zzzz. AAAAAAAAA bbb cccc ddddddddddd eeee ffff ggggggggggggg hhhh iiii jjjjjjjjjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttttttttttt uuuu vvvv wwww xxxx yyyy zzzz.
Another Level 3 Head
AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz.
And so on until the Application . . .


APPLICATION

AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz.
Level 1 Head

AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz.
Level 3 Head

AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz.
Another Level 3 Head

AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz. AAA bbb cccc dddd eeee ffff gggg hhhh iiii jjjj kkkk llll mmmm nnnn oooo pppp qqqq rrrr sssss tttt uuuu vvvv wwww xxxx yyyy zzzz.
Discussion

The discussion should show how the project has been informed by the theories in the Breadth component and/or the research in the Depth component. It should be about 10 pages. aaa bbb ccc ddd eee fff ggg hhh iii jjj kkk lll mmm nnn ooo ppp qqq rrr sss ttt uuu vvv www xxx yyy zzz aaa bbb ccc ddd eee fff ggg hhh iii jjj kkk lll mmm nnn ooo ppp qqq rrr sss ttt uuu vvv www xxx yyy zzz aaa bbb ccc ddd eee fff ggg hhh iii jjj kkk lll mmm nnn ooo ppp qqq rrr sss ttt uuu vvv www xxx yyy zzz aaa bbb ccc ddd eee fff ggg hhh iii jjj kkk lll mmm nnn ooo ppp qqq rrr sss ttt uuu vvv www xxx yyy zzz
And so on to the reference list . . . .

REFERENCES

Andrade, H. G. (2005). Teaching with rubrics: The good, the bad, and the ugly. College Teaching, 53, 27. doi: 10.3200/CTCH.53.1.27-31

Csikszentmilhalyi, M. (1996). Creativity. New York: Harper Collins.

Geertz, C. (1973). The interpretation of cultures. New York: Basic Books.

Lee, J. (2003). Implementing high standards in urban schools: Problems and solutions. Phi Delta Kappan, 84(6), 449-455.

No Child Left Behind (NCLB) Act of 2001, Pub. L. No. 107-110, 115, Stat. 1425 (2002).

Merriam, S. B. (1998). Qualitative research and case study applications in education. San Francisco: Jossey-Bass.

Restak, R. M. (2001). The secret life of the brain. Thousand Oaks, CA: Richard M. Restak and David Grubin Productions, Inc.

Silver, A. (2003). Missing links: On studying the connection of arts education to the public good. Arts Education Policy Review, 104(3), 21-26.











There are faxes for this order.

This is a cultural paper being written for college Art Education. course

The identities of most inhabitants in the US today are made of multiple cultures and factors. These multiple identifies include but are not limited to factors of race, gender, space, place, class, sexuality, ethnicity, religion and language.

In an increasingly multicultural world, socio-political and socio-economic understandings of identity as a singular construct can lead to denial, erasure or emphasis of certain aspects of our hyphenated identities.

Assignment: Using the 3 media samples you provide in your previous assignment, write a position research paper. Identify and explain what it means to be Chinese-American. Be specific about Chinese-American (cannot be generic in other words, dont talk about Asian-American). Unpack its construction, consumption and repercussions using specific examples in visual culture. Use ideas drawn from at least 3 references to support your assertions. Explain how this media impacts Chinese-American social, cultural and economic context.

My position: Discuss how Chinese-Americans do not fit the typical mold visualized by media. Chinese are depicted in media as:

Short
Women ??" submissive/seductive prostitutes or pure/virgins like geisha girls
Men ??" gangs/martial arts expert or geeky/nerd
Super Smart (i.e. naturally good at math, science and technology)
Chinese, Japanese, Vietnamese, Korean and often lumped together as Asian. As if they are all alike.

Media Examples that must be included are below. I will send you my notes used in previous assignments. Can also use others you find that support position.

Bruce Lee/Jackie Chan (give assumption all Chinese-American men are martial arts experts/violence) how do they hurt Chinese-American identity.
Jeremy Lin (basketball player opposite of typical short Chinese-American. Is also strong Christian and publicaly shows it) how does he help Chinese-American identity.

Gene Luen Yang writer/illustrator of American Born Chinese (comic book that shows kids its ok to be different)

There are faxes for this order.

Discuss and explore the impact of The Industrial Revolution (1760-1830) in America, and American society. What were the cultural impacts? In what ways did the Industrail revolution influence economics, arts, education, entertainment, etc. in American culture and society?

Both correctional psychologist and police psychologist are typically either clinical or counseling psychologists. The text (Forensic Psychology, Cronin, C) discusses ethical issues that are specific to these two fields and in conflict with the "usual" role of the clinical psychologist. Saint Leo University has adopted six Benedictine Values as part of its liberal arts education. The value of Respect has been identified by the psychology faculty as particularly relevant for this course. Considering the ethical issues facing the correctional or forensic psychologist, how can they still demonstrate respect to the examinee or individual involved in therapy, yet not grant full confidentiality? Discuss the ethical limitations, situations in which these limitations apply and suggest ways one can still show respect.

You are to write 1-page paper. Do Not Use Outside Sources. After reading the article answer the questions at the end of the article. State the question first. "Needing the Unnecessary" deals with the issue of consumer choices and the role of marketing. Read the article below

Needing the Unnecessary

The democratization of luxury

IF YOU WANT to understand material culture at the beginning of the 21st century, you must understand the overwhelming importance of unnecessary material. If you are looking for the one unambiguous result of modern capitalism, of the industrial revolution, and of marketing, here it is. In the way we live now, you are not what you make. You are what you consume. And most of what you consume is totally unnecessary yet remarkably well made.
The most interesting of those superfluous objects belong in a socially constructed and ever-shifting class called luxury. Consuming those objects, objects as rich in meaning as they are low in utility, causes lots of happiness and distress. As well they should. For one can make the argument that until all necessities are had by all members of a community, no one should have luxury. More complex still is that, since the 1980s, the bulk consumers of luxury have not been the wealthy but the middle class, your next-door neighbors and their kids. And this is happening not just in the West but in many parts of the world.
When I was growing up in the middle class of the 1950s, luxury objects were lightly tainted with shame. You had to be a little cautious if you drove a Cadillac, wore a Rolex, or lived in a house with more than two columns out front. The rich could drip with diamonds, but you should stay dry. Movie stars could drive convertibles; you should keep your top up. If you've got it, don't flaunt it. Remember, the people surrounding you had lived through the Depression, a time that forever lit the bright lines between have-to-have, don't-need-to-have, and have-in-order-to-show-off.
The best definition of this old-style off-limits luxury came to me from my dad. I was just a kid, and it was my first trip to a cafeteria: Morrison's Cafeteria in Pompano Beach, Florida, February 1955. When I got to the desserts, I removed the main course from my tray and loaded up on cake and JELL-O. My dad told me to put all the desserts back but one. I said that wasn't fair. To me the whole idea of cafeteria was to have as much as you want of what you want. My dad said no, that was not the idea of cafeteria. The idea of cafeteria is that you can have just one of many choices.
Luxurification
Look around American culture, and you will see how wrong he was. Almost every set of consumables has a dessert at the top. And you can have as much of it as you can get on your tray or as much of it as your credit card will allow. This is true not just for expensive products like town cars and McMansions but for everyday objects. In bottled water, for instance, there is Evian, advertised as if it were a liquor. In coffee, there's Starbucks; in ice cream, Hagen-Dazs; in sneakers, Nike; in whiskey, Johnnie Walker Blue; in credit cards, American Express Centurian; in wine, Chateau Margaux; in cigars, Arturo Fuente Hemingway; and, well, you know the rest.
Name the category, no matter how mundane, and you'll find a premium or, better yet, a super-premium brand at the top. And having more than you can conceivably use of such objects is not met with opprobrium but with genial acceptance. This pattern persists regardless of class: The average number of branded sneakers for adolescent males? It's 4.8 pairs. And regardless of culture: A favorite consumer product in China? Chanel lipstick dispensers sans lipstick.
Basil Englis and Michael Solomon, professors of marketing in the School of Business at Rutgers University, have studied the effects of brand consumption, particularly how college students cluster around top-brand knowledge. They drew guinea pigs from undergraduate business majors at their institution and presented them with 40 cards, each containing a description of a different cluster of consumers.
The professors sifted the clusters to make four groups--lifestyles, if you will--representative of undergraduate society. They were Young Suburbia, Money & Brains, Smalltown Downtown, and Middle America. Then Englis and Solomon gathered images of objects from four product categories (automobiles, magazines/ newspapers, toiletries, and alcoholic beverages) that fit into each group. The students were asked to put the various images together into coherent groups; they were also to state their current proximity to, or desire to be part of, each group in the future.
As might be expected, the Money & Brains cluster was the most popular aspirational niche. What Englis and Solomon did not expect was how specific and knowledgeable the students were about the possessions that they did not have but knew that members of that cluster needed.
When asked what brand of automobile they would drive, here's what they said: BMWs (53.6 percent), Mercedes (50.7), Cadillacs (30.4), Volvos (23.2), Porsches (21.7), Acuras (17.4), and Jaguars (15.9). They knew what they wanted to read: travel magazines (21.7 percent), Vogue (21.7), BusinessWeek (20.3), Fortune (17.9), and GQ (15.9). Again, this is not what they did read but what they took to be the reading material of the desired group. What they were actually reading (or so they said) were Forbes, Barron's, The New Yorker, and Gourmet. No mention of Rolling Stone, Playboy, Spin, or Maxim for this group. They certainly knew what to drink: Heineken beer (33.3 percent), expensive wines (26.1), scotch (18.8), champagne (17.4), and Beck's beer (15). They also knew what to sprinkle on their bodies: Polo (27.5 percent), Obsession (15.9), and Drakkar (15.9).
What the professors found was not just that birds of a feather had started to flock together, but that these young birds already knew what flock to shy away from. They were not ashamed of smoking, for instance, but of smoking the wrong brand. Their prime avoidance group corresponded to the Smalltown Downtown cluster.
The Money & Brainers knew a lot about the Smalltowners. They knew about favored pickup trucks, Chevys (23.2 percent) and Fords (18.8). They knew that this group reads People (30.4), Sports Illustrated (26.1), TV Guide (24.6), Wrestling (21.7), fishing magazines (20.3), and The National Enquirer (18.8). They assumed that Smalltowners preferred Budweiser (59.4), followed by Miller (24.6) and Coors (18.8). Essentially, the Money & Brainers had learned not just what to buy but what to avoid (or at least what to say to avoid).
Such shared knowledge is the basis of culture. This insight was, after all, the rationale behind a liberal arts education. John Henry New-man and Matthew Arnold argued for state-supported education in the 19th century precisely because cultural literacy meant social cohesion. No one argued that it was important to know algebraic functions or Latin etymologies or what constitutes a sonnet because such knowledge allows us to solve important social problems. We learn such matters because it is the basis of how to speak to each other, how we develop a bond of shared history and commonality. This is the secular religion of the liberal arts and sciences, what French sociologist Pierre Bourdieu calls cultural capital.
In our postmodern world we have, it seems, exchanged knowledge of history and science (a knowledge of production) for knowledge of products and how such products interlock to form coherent social patterns (a knowledge of consumption). Buy this and don't buy that has replaced make/learn this, don't make/learn that. After all, in the way we live now, everyone is a consumer, but not everyone is a worker. As Marcel Duchamp, sly observer of the changing scene, said, "Living is more a question of what one spends than what one makes." Thus a new denomination of cultural capital.
A shift in currency has clear ramifications. A producer culture focuses on the independent self of the worker: self-help, self-discipline, self-respect, self-control, self-eliance, self-interest. Responsibility is situated in the individual: Can she get work? A consumer culture, however, focuses on community: Fit in, don't stand out. Be cool. The standard of judgment becomes the ability to interact effectively with others, to win their affection and admiration--to merge with others of the same lifestyle. Can he consume the right brands?
Inventing Pashmina
The powerful desire to associate with recognized objects of little intrinsic but high positional value is at the heart of Luxe Americana. It is what Martha Stewart is doing down at Kmart introducing her Silver Label goods. Of her many endorsed products, one is of special interest: her line of matelass coverlets and shams--really, just bedcovers. They are available in yellow, white, and multicolored stripes and come in silk, linen, crushed velvet, Egyptian cotton, cotton sateens, and even cashmere. Remember three things: This is Kmart, a bedspread is something you buy not to show off to others but to please yourself, and cashmere is supposed to be something really special.
So here is the Cashmere Company hawking something it calls pashmina. The word is a linguistic trick. Cashmere is goat hair from Kashmir, an area between India and Pakistan, whereas pashmina is simply the Persian word for the same goat in the same area. In other words, it's the same stuff. But that's not what is interesting. It is that pashmina has been introduced precisely because places like Kmart have too much cashmere. So what we have is a top-of-the-line product topped because too many people were in the checkout line.
But then again, what of Michael Graves-designed toasters for Target, Ralph Lauren house paint, and Ernest Hemingway and Cole Porter brand furniture at Ethan Allen Furniture stores? This tectonic shift in consumption is why the designer Lynette Jennings, host of the Discovery Channel's Lynette Jennings Design and HouseSmart, is peddling doorknobs at Home Depot.
If you want to see how varied the consumers of the new luxuries are, just take a tour of your local Costco or Sam's Club parking lot. Observe the shiny new imported sedans and SUVs alongside aging subcompacts. Or spend an hour watching what is being sold on the Home Shopping Network, a televised flea market for impulse buyers. The system now has 23,000 incoming phone lines capable of handling up to 20,000 calls a minute. Home Shopping no longer sells just cubic zirconium rings. Not when the real money is in designer handbags.
In the older culture, my dad's culture, the limited production capacity of the economy sharply reduced aspirations to material comfort. In the modern world, my culture, much greater material satisfactions lie within the reach of even those of modest means. Thus a producer culture becomes a consumer culture, a hoarding culture becomes a surplus culture, a work culture becomes a therapeutic culture. Because what you buy becomes more important than what you make, luxury is not a goal; for many it is a necessity.
Luxury Creep
Michael J. Apter, a psychologist at Northwestern University, has studied why we do things and, by extension, why we buy things. In The Experience of Motivation: The Theory of Psychological Reversals, he divides general orientations into telic (arousal reducing) and paratelic (arousal seeking). A telic motivation starts with isolating a need and then feeling anxious about resolving it. The experience ends, if successful, with a feeling of relaxation. If the ending does not satisfy the need (postdecision dissonance), the anxiety continues, and the process is repeated until it abates. A paratelic tendency, however, begins in a state of well-being that edges over into boredom. The person seeks excitement and judges the act by the experience. Does it resolve boredom? Not to put too fine a point on it, but consuming luxury for many Americans has gone from relic to paratelic, from product to process, from problem resolution to emotion seeking, from object to experience.
The one characteristic of modern luxe is its profound oxymoronic nature: If everyone can have it, is it still luxury? If you want to see the difference that a generation makes in downshifting luxury, just look at how top-of-the-line domestic automobiles are advertised. Compare Cadillac in the early part of the 20th century with Lincoln at the end of the century, and you'll get the idea.
Cadillac's pitch in a 1915 advertisement was that luxury comes at a price and that price includes humility, even mild mortification. You buy this car and you take responsibility for sharing excellence. The true price of luxury is not cheap. In fact, you will be reviled, assailed, and envied. This car is a laurel. Be careful how you wear it. The real headline is not just "The Penalty of Leadership," it is "The Penalty of Luxury."
By contrast, Lincoln's current pitch is pure indulgence: Buy this object and let your lust for comfort run wild. Lincoln is "what a luxury object should be." And after all you've been through, you deserve it. If not to own, then to lease.
Needless to say, as the 20th century faded into oblivion, Cadillac, which had a history of "owning" the luxury category, lost its vaunted place as the best-selling domestic luxury car to Lincoln. The Lincoln division of the Ford Motor Car Company has a single-word advertising motto: "Luxury."
Perhaps the best example of what I call luxury creep, in which a down-market product comes uptown solely on the basis of advertising, is the Buick Century. Buick has had a history of being a car for strivers who have not quite made it. Just look back on Buick advertising in the '60s, and you can see the company's typical reticence. In 1965 Buick advertising carried the tag line, "Wouldn't you really rather have a Buick?," which survived through the 1980s. In 1980 the company added a second theme: "The great American road belongs to Buick." Then in 1986 the McCann-Erickson ad agency positioned Buicks as "premium American motorcars."
Now Buick does have a luxury car, the Park Avenue. But the Century is an underling, now positioned as "a luxury car for everyone." Never mind that the tag line is an oxymoron. The problem is more fundamental. This car is just a standard Buick, which is just a jazzed-up Chevy, which is just a dumbed-down Cadillac, which is just an Oldsmobile, which is just like tons of Fords and Chryslers, as well as most Japanese midrange cars. The only luxury about it is the pretension of saying this is luxurious.
Punk Luxe?
In the last few years I have spent hours flipping through a new genre of magazine--The Robb Report, Millionaire, Indulgence, Flaunt, Luxe, Icon, Self: The Best of Everything, Ornament: The Art of Personal Adornment--as well as standard glossy pulp from Cond Nast like GQ Vogue, Vanity Fair, and, most recently, Lucky. I have trolled Rodeo Drive, Worth Avenue, and upper Madison Avenue and traveled to Las Vegas, where I stood agog for hours in the Bellagio and Venetian hotels.
I admit from the start that you could argue that this is not real luxury but a kind of ersatz variety, punk luxe, and maybe you would be correct. My father would have argued that real luxury is characterized not by shine but by patina, that its allure comes from inborn aesthetics, not from glitzy advertising, that it is passed from generation to generation and cannot be bought at the mall, and, most of all, that its consumption is private, not conspicuous. His words for modern luxury would have included gauche, vulgar, nouveau, tasteless, and, most interestingly, offensive.
In fact, maybe the rich have only two genuine luxury items left: time and philanthropy. The rest of us are having a go at all their stuff, albeit for a knockoff to be held only a short time. I can't afford a casita on Bermuda, but my timeshare can get it for me at least for a week. I can't own a limo, but I can rent one. If I can't fly on the Concorde, I can upgrade to first class with the miles I "earn" by using my American Express card. I can lease a Lexus.
In a sense luxury objects don't exist anymore as they used to because "real" luxury used to be for th "happy few," and in the world of the jubilant Dow there is no more "happy few." The world that we live in, as John Seabrook recently argued in Nobrow: The Marketing of Culture and the Culture of Marketing, and as David Brooks explored in Bobos in Paradise: The New Upper Class and How They Got There, no longer easily fits into intellectual classes. It now fits into consumption communities. So, for instance, we don't talk about high class, upper middle class, and middle class. Instead we talk about boomers, yuppies, Generation X, echo-boomers, nobrows, bobos (short for bourgeois bohemians), and the rest, who show what they are buying for themselves, not what they do for a living. And that's why each of these groups has its own luxury markers--positional goods, in marketing jargon--to be bought, not made.
High Brow to Nobrow
In a way, the new luxury is the ineluctable result of a market economy and a democratic political system. As journalist Thomas Beer wrote, "Money does not rule democracy. Money is democracy." Back in the late 1940s Russell Lynes, editor of Harper's, concocted a taxonomy of taste: high-brow, upper middlebrow, lower middle-brow, and lowbrow. His system, as gleefully celebrated in the April 11, 1949, issue of Life magazine, was scandalous when published, the topic of much cocktail party concern.
Lynes knew even then that Americans were no longer divided by "wealth, birth, or political eminence" but by consumption. These material distinctions were further explored in the 1980s in Paul Fussell's Class: A Guide Through the American Status System. Tongue almost in cheek, Fussell even proposed a new class, what he called "category X people," to be based not on material consumption but on a shared taste for the better life. Fussell got the phenomenon of the "massification" of the upper class correct, and he certainly understood how the democratizing of luxury was a mixed blessing, but he missed the materiality of this confluence. Instead of superfluous stuff being pushed aside, it became even more central. You had to buy your way out, one Volvo, one glass of merlot, one bow tie, one Sub-Zero refrigerator, one granite countertop at a time.
From time to time in Western history there is vociferous antipathy toward high-end consumption. From Plato to the early Christians to the Renaissance, luxury was thought to effeminize and weaken. But this was hardly a pressing problem, because just getting to the necessities of life was a full-time job for most.
With increasing affluence this view shifted. Luxury became dangerous not because of debasement but because it was a sign of overreaching, of getting out of place. An interesting transformation shows how fluid this category can be. In the Renaissance, luxury objects became those things thought worthy of being painted. Such objects were called objets d'art. Now, of course, the luxury object is the painting itself. But you can see that even before the industrial revolution there was a growing desire to show stuff off, to use the material world as marker of social dominance, to strut, to flaunt.
By the 18th century, social critics like Bernard Mandeville and economists like Adam Smith were beginning to suggest that, for improving the weal of humanity, the promise of consuming luxury might be a better carrot than the stick of shame. Yet there was still deep resentment for consuming out of your class, beyond your means.
This suspicion about consuming beyond your class continued well into the 19th century. In fact, ancient sumptuary laws, explaining exactly what objects were forbidden by church and state, were read from the Anglican pulpit until the 1860s. Reading these laws took two hours of church time to complete, and the laws kept people in their places, if only to have to listen to them.
Clerics, clearly supported by the aristocracy, were not alone in stiff-arming luxury. With the onset of industrial surpluses, secular pundits like Henry David Thoreau railed against what they took to be the excesses of mass production. "Most of the luxuries, and many of the so-called comforts, of life are not only not indispensable, but positive hindrances to the elevation of mankind," he pointed out in Walden.
By the fin de sicle this view of high-end consumption had so exploded that Thorstein Veblen unloosed the first modern sustained attack on luxury in his thoroughly entertaining Theory of the Leisure Class (1899). Coining all manner of nifty concepts like conspicuous consumption, invidious comparison, bandwagon effect, symbolic pantomime, vicarious leisure, and parodic display, Veblen had at the excesses of robber-baron shopping.
The Leisure Classic
In fact, one might say that Veblen enjoyed it rather too much and succeeded only too well. When he formulated his theory of the leisure class at the turn of the century, ostentation in dress was at its full plumage, not least because new money was desperate to prove that it had made it to high society. Veblen's argument was so simple that it cut like Occam's razor. It has proved so powerful that it has achieved the stares of unquestioned truism.
Here is Veblen's argument: As wealth spreads, what drives consumers' behavior is increasingly neither subsistence nor comfort but the attainment of "the esteem and envy of fellow men." Because male wage earners are too circumspect to indulge themselves, they deposit consumption on surrogates, on loved ones. Vicarious ostentation--the way that plainly dressed Victorian men encouraged their wives and daughters to wear complicated trappings of wealth--is how this unfolds. Ditto their servants, horses, and even house pets.
In retrospect, Veblen was too successful, too neat, too sharp. Veblen thought that the purpose of acquisition was public consumption of esteem, status anxiety resolved by material display. Not much more. Wealth, he argued, confers honor; it suggests prowess and achievement. But wealth would have no social meaning were it simply consumed or possessed. "In order to gain and to hold the esteem of men," he wrote, "it is not sufficient merely to possess wealth or power. The wealth or power must be put in evidence, for esteem is awarded only on evidence."
Thus the absolute centrality of conspicuous consumption. In what Veblen called "barbarian culture," trophies such as property or slaves were signs of successful aggression. In modern societies luxury is a sign of status and class. It's what we have for harems. But only certain sorts of goods work this magic. There is no rational system. The only constant is that consumers seek the luxurious object for two reasons: to show that they are members of the classes above and to distinguish themselves from those below. Veblen calls the first motive "pecuniary emulation"; the second, "invidious comparison."
From this comes the economic irrationality of the Veblen effect, namely, that the value of a luxury object is in direct proportion to its cost. Raise the price of certain luxe objects and you increase their value. The Veblen effect is why a T-shirt sold at Sears costs less than the same T-shirt at the Gap, which costs less than the same T-shirt at Hugo Boss, and so forth. Could you sell Evian water if it were priced below a generic? What about Ben & Jerry's ice cream? The Robb Report? A Lexus? An Ivy League education? It is not enough for me to know what I paid for opuluxe. You have to know.
Today these products, which are no more (and maybe less) useful than their functional equivalents, are sometimes called "positional goods," goods that are valued not despite their expense but because of it. Indeed, Veblen argued that since the reasons for buying such goods are "pecuniary emulation" and "invidious comparison," their utility rises as their prices go up. With insights like this, Veblen proved himself to be too strong a critic to dismiss. You don't need to have read a word he wrote to know him. He set the tone of modem criticism.
Economic Moralism
The second modern attack on luxury came in the 1950s with John Kenneth Galbraith's The Affluent Society and, to a lesser degree, the popularizing work of Vance ackard in The Hidden Persuaders, The Status Seekers, and The Pyramid Climbers. Veblenism is all over these books. Galbraith had read Veblen, if not wisely, then too well. In fact, he had edited Theory of the Leisure Class with all kinds of approving nods and winks. Packard and his snappy titles went along for the ride. To these critics high-end consumption is against our "better nature"; we are duped into consuming by advertisers; consumers are dolts who should be doing other things; luxury is consumption run amok.
The usual suspects for Galbraith had changed from the captains of industry to the Joneses across the street. Keeping up with them was every bit as dangerous as it had been for a Carnegie to keep up with a Vanderbilt, a Morgan with a Gould. Perhaps even more dangerous because these Joneses now are so numerous. And, as opposed to the robber barons who were outfitting family members, this new solipsistic breed of showoff was outfitting himself.
Veblen's descendants are still at it. Following in the footsteps of Galbraith have been two moralists passing as economists: Juliet Schor, a professor now at Boston College, who has published The Overspent American: Why We Want What We Don't Need, and Robert Frank, a professor at Cornell, who contributed Luxury Fever: Why Money Fails to Satisfy in an Era of Excess. Just read the subtitles.
The modern attack usually centers around a specific object as an exemplum. While Galbraith disliked Cadillac tail fins, Schor disdains granite countertops in the kitchen, and Frank holds up expensive watches as symptomatic of bad habits. On the surface they have such good points: How do those fins help the car move, are those stone countertops better than Formica, does a Lucian Picard keep better time than a Timex?
But here's the problem. The 1958 Cadillac has been featured in the Museum of Modern Art's retrospective show celebrating industrial design as art, and if you now want to buy one in mint condition, you'll pay about 20 times the purchase price. The granite countertop really makes more sense as a cutting surface than as a slab to lay down over the dead body of Uncle Louie, and--who knows?--it might even be passed from generation to generation, while the sensible Formica is carted out to the dump. And had Frank invested in Lucian Picard watches at the beginning of the bull market, he would have made more on his watch investment than on the S&P 500. Drats! That this stuff could have increased in value tells us how slippery these slopes can be.
No matter. Critics of consumption love to point out that people with these things are no happier than people without them. Ergo, why buy extra stuff? But people who can't buy unnecessary opuluxe are definitely unhappier for not being let into the cycle; buying this notational stuff and having such stuff are different experiences; consumers move in definite stages, from adolescence, where consumption is central, to middle age, where it ceases to be so important, to old age, where having things is positively a hindrance. Religious fanatics invariably rank highest on happiness scales, irrespective of culture or religion. Let's give happiness a rest. Consumption of the new luxury is about far more interesting sensations.
Whereas Veblen contended that male aggression caused the crazed consumption of deluxe items at the end of his century, these modern critics are more au courant in putting forth their etiology. They medicalize consumption, in large part because the bulk consumers of luxe are now young women. The diagnosis, although they would never use this precise term, is addiction. We are addicted to luxury. That's what causes the fever. That's why we yearn for what we don't want. Diagnosis from the National Public Radio crowd: not just Sudden Wealth Syndrome but the dreaded "affluenza."
Over the Top
I must say that I found most of the luxury objects that I've looked at, from Patek Philippe watches to Porsche Turbos to the men's room of the Bellagio Hotel, to be a little over the top. But I am not so oblivious to the world around me that I can't appreciate how important the new luxury has become. And I can't overlook how high-end consumption promises to do exactly what critics of the stuff have always yearned for, namely, to bring us together, often traumatically. Yes, indeed, the transgenerational poor are excluded, as the bottom fifth of our population has not budged an inch in the luxe explosion. Yet more people than ever are entering the much-vaunted global village because of consumption, not despite it.
In fact, one could argue, as Dinesh D'Souza, Virginia Postrel, and W. Michael Cox and Richard Alm have recently done, that the aspiration of the poor to get at these unnecessary goods has done more than any social program to motivate some of the disenchanted to become enfranchised. While one may be distressed at seeing a dish antenna atop a ramshackle house or a Caddie out front, the yearning to have superfluous badges of affluence may promise a more lasting peace around the world than any religion or political system has ever delivered. I don't mean to overlook the complexities here.
This is not a universal phenomenon, as the al Qaeda have wickedly demonstrated. Some of the world's poor are most certainly not becoming better off in absolute or relative terms. I only want to say that, given a choice between being mugged for your sneakers or having your ethnic or religious heritage cleansed, the lust for sneakers may prove a more lasting way to improve the general lot of humanity.
Let's face it. In the world that I grew up in, your religion, your family name, the color of your skin, your language skills, your gender, where you went to school, your accent, and your marriage partner were doing the work that luxury consumption does now. My dad went to Exeter, Williams, and Harvard Med, and he never drove anything fancier than a Plymouth. He never had to. Today I wouldn't go to a doctor who drove a Plymouth. I would figure that if she doesn't drive a Lexus, she is having trouble with her practice.
So I admit the ugly truth. After spending the last few years trying to understand the pull of the material world, I am far more sympathetic to its blandishments and far more forgiving of its excesses. The democratization of luxury has been the single most important marketing phenomenon of modern times. And it has profound political implications. It may not be as bad as some lifestyle scolds make it out to be. In its own way it is a fair, albeit often wasteful, system, not just of objects but of meaning. Don't get me wrong: It's not that I came to mock and stayed to pray, but I do feel that getting and spending has some actual worth. Nobody checks the number of vowels in your name, or the color of your skin, or whether you know the difference between like and as when you are buying your Prada parka--that's got to mean something.
Although luxury has become a mallet with which one pounds the taste of others, this misses some essential points. One is that humans are consumers by nature. We are tool users because we like to use what tool using can produce. In other words, tools are not the ends but the means. So too materialism does not crowd out spiritualism; spiritualism is more likely a substitute when objects are scarce. When we have few things, we make the next world luxurious. When we have plenty, we enchant the objects around us.
Second, consumers are rational. They are often fully aware that they are more interested in consuming aura than objects, sizzle than steak, meaning than material. In fact, if you ask them--as academic critics are usually loath to do--they are quite candid in explaining that the Nike swoosh, the Polo pony, the Guess? label, the DKNY logo are what they are after. They are not duped by advertising, packaging, branding, fashion, and merchandising. They actively seek and enjoy the status that surrounds the object, especially when they are young.
Third, we need to question the standard argument that consumption of opuluxe almost always leads to disappointment. Admittedly, the circular route from desire to purchase to disappointment to renewed desire is never-ending, but we may follow it because the other route--from melancholy to angst--is worse. In other words, in a world emptied of inherited values, consuming what looks to be overpriced fripperies may be preferable to consuming nothing.
Finally, we need to rethink the separation between production and consumption, for they are more alike than separate and occur not at different times and places but simultaneously. Instead of wanting less luxury, we might find that just the opposite--the paradoxical luxury for all--is a suitable goal of communal aspiration. After all, luxury before all else is a social construction, and understanding its social ramifications may pave the way for a new appreciation of what has become a characteristic contradiction of our time, the necessary consumption of the unnecessary.

***Describe briefly how the article views the role of the consumer in terms of freedom of choice in consumption situations. Is the article's view consistent with the traditional marketing ideal of consumers being independent agents with the full capacity for personal decisions?***

You are to write a 1-page paper. Do Not Use Outside Sources.
Read the article below**Discuss the concept of luxury. How does he define luxury in the article? Do you agree with his definition and with the article's explanation of the role of luxury in society? **

Needing the Unnecessary

The democratization of luxury

IF YOU WANT to understand material culture at the beginning of the 21st century, you must understand the overwhelming importance of unnecessary material. If you are looking for the one unambiguous result of modern capitalism, of the industrial revolution, and of marketing, here it is. In the way we live now, you are not what you make. You are what you consume. And most of what you consume is totally unnecessary yet remarkably well made.
The most interesting of those superfluous objects belong in a socially constructed and ever-shifting class called luxury. Consuming those objects, objects as rich in meaning as they are low in utility, causes lots of happiness and distress. As well they should. For one can make the argument that until all necessities are had by all members of a community, no one should have luxury. More complex still is that, since the 1980s, the bulk consumers of luxury have not been the wealthy but the middle class, your next-door neighbors and their kids. And this is happening not just in the West but in many parts of the world.
When I was growing up in the middle class of the 1950s, luxury objects were lightly tainted with shame. You had to be a little cautious if you drove a Cadillac, wore a Rolex, or lived in a house with more than two columns out front. The rich could drip with diamonds, but you should stay dry. Movie stars could drive convertibles; you should keep your top up. If you've got it, don't flaunt it. Remember, the people surrounding you had lived through the Depression, a time that forever lit the bright lines between have-to-have, don't-need-to-have, and have-in-order-to-show-off.
The best definition of this old-style off-limits luxury came to me from my dad. I was just a kid, and it was my first trip to a cafeteria: Morrison's Cafeteria in Pompano Beach, Florida, February 1955. When I got to the desserts, I removed the main course from my tray and loaded up on cake and JELL-O. My dad told me to put all the desserts back but one. I said that wasn't fair. To me the whole idea of cafeteria was to have as much as you want of what you want. My dad said no, that was not the idea of cafeteria. The idea of cafeteria is that you can have just one of many choices.
Luxurification
Look around American culture, and you will see how wrong he was. Almost every set of consumables has a dessert at the top. And you can have as much of it as you can get on your tray or as much of it as your credit card will allow. This is true not just for expensive products like town cars and McMansions but for everyday objects. In bottled water, for instance, there is Evian, advertised as if it were a liquor. In coffee, there's Starbucks; in ice cream, Hagen-Dazs; in sneakers, Nike; in whiskey, Johnnie Walker Blue; in credit cards, American Express Centurian; in wine, Chateau Margaux; in cigars, Arturo Fuente Hemingway; and, well, you know the rest.
Name the category, no matter how mundane, and you'll find a premium or, better yet, a super-premium brand at the top. And having more than you can conceivably use of such objects is not met with opprobrium but with genial acceptance. This pattern persists regardless of class: The average number of branded sneakers for adolescent males? It's 4.8 pairs. And regardless of culture: A favorite consumer product in China? Chanel lipstick dispensers sans lipstick.
Basil Englis and Michael Solomon, professors of marketing in the School of Business at Rutgers University, have studied the effects of brand consumption, particularly how college students cluster around top-brand knowledge. They drew guinea pigs from undergraduate business majors at their institution and presented them with 40 cards, each containing a description of a different cluster of consumers.
The professors sifted the clusters to make four groups--lifestyles, if you will--representative of undergraduate society. They were Young Suburbia, Money & Brains, Smalltown Downtown, and Middle America. Then Englis and Solomon gathered images of objects from four product categories (automobiles, magazines/ newspapers, toiletries, and alcoholic beverages) that fit into each group. The students were asked to put the various images together into coherent groups; they were also to state their current proximity to, or desire to be part of, each group in the future.
As might be expected, the Money & Brains cluster was the most popular aspirational niche. What Englis and Solomon did not expect was how specific and knowledgeable the students were about the possessions that they did not have but knew that members of that cluster needed.
When asked what brand of automobile they would drive, here's what they said: BMWs (53.6 percent), Mercedes (50.7), Cadillacs (30.4), Volvos (23.2), Porsches (21.7), Acuras (17.4), and Jaguars (15.9). They knew what they wanted to read: travel magazines (21.7 percent), Vogue (21.7), BusinessWeek (20.3), Fortune (17.9), and GQ (15.9). Again, this is not what they did read but what they took to be the reading material of the desired group. What they were actually reading (or so they said) were Forbes, Barron's, The New Yorker, and Gourmet. No mention of Rolling Stone, Playboy, Spin, or Maxim for this group. They certainly knew what to drink: Heineken beer (33.3 percent), expensive wines (26.1), scotch (18.8), champagne (17.4), and Beck's beer (15). They also knew what to sprinkle on their bodies: Polo (27.5 percent), Obsession (15.9), and Drakkar (15.9).
What the professors found was not just that birds of a feather had started to flock together, but that these young birds already knew what flock to shy away from. They were not ashamed of smoking, for instance, but of smoking the wrong brand. Their prime avoidance group corresponded to the Smalltown Downtown cluster.
The Money & Brainers knew a lot about the Smalltowners. They knew about favored pickup trucks, Chevys (23.2 percent) and Fords (18.8). They knew that this group reads People (30.4), Sports Illustrated (26.1), TV Guide (24.6), Wrestling (21.7), fishing magazines (20.3), and The National Enquirer (18.8). They assumed that Smalltowners preferred Budweiser (59.4), followed by Miller (24.6) and Coors (18.8). Essentially, the Money & Brainers had learned not just what to buy but what to avoid (or at least what to say to avoid).
Such shared knowledge is the basis of culture. This insight was, after all, the rationale behind a liberal arts education. John Henry New-man and Matthew Arnold argued for state-supported education in the 19th century precisely because cultural literacy meant social cohesion. No one argued that it was important to know algebraic functions or Latin etymologies or what constitutes a sonnet because such knowledge allows us to solve important social problems. We learn such matters because it is the basis of how to speak to each other, how we develop a bond of shared history and commonality. This is the secular religion of the liberal arts and sciences, what French sociologist Pierre Bourdieu calls cultural capital.
In our postmodern world we have, it seems, exchanged knowledge of history and science (a knowledge of production) for knowledge of products and how such products interlock to form coherent social patterns (a knowledge of consumption). Buy this and don't buy that has replaced make/learn this, don't make/learn that. After all, in the way we live now, everyone is a consumer, but not everyone is a worker. As Marcel Duchamp, sly observer of the changing scene, said, "Living is more a question of what one spends than what one makes." Thus a new denomination of cultural capital.
A shift in currency has clear ramifications. A producer culture focuses on the independent self of the worker: self-help, self-discipline, self-respect, self-control, self-reliance, slf-interest. Responsibility is situated in the individual: Can she get work? A consumer culture, however, focuses on community: Fit in, don't stand out. Be cool. The standard of judgment becomes the ability to interact effectively with others, to win their affection and admiration--to merge with others of the same lifestyle. Can he consume the right brands?
Inventing Pashmina
The powerful desire to associate with recognized objects of little intrinsic but high positional value is at the heart of Luxe Americana. It is what Martha Stewart is doing down at Kmart introducing her Silver Label goods. Of her many endorsed products, one is of special interest: her line of matelass coverlets and shams--really, just bedcovers. They are available in yellow, white, and multicolored stripes and come in silk, linen, crushed velvet, Egyptian cotton, cotton sateens, and even cashmere. Remember three things: This is Kmart, a bedspread is something you buy not to show off to others but to please yourself, and cashmere is supposed to be something really special.
So here is the Cashmere Company hawking something it calls pashmina. The word is a linguistic trick. Cashmere is goat hair from Kashmir, an area between India and Pakistan, whereas pashmina is simply the Persian word for the same goat in the same area. In other words, it's the same stuff. But that's not what is interesting. It is that pashmina has been introduced precisely because places like Kmart have too much cashmere. So what we have is a top-of-the-line product topped because too many people were in the checkout line.
But then again, what of Michael Graves-designed toasters for Target, Ralph Lauren house paint, and Ernest Hemingway and Cole Porter brand furniture at Ethan Allen Furniture stores? This tectonic shift in consumption is why the designer Lynette Jennings, host of the Discovery Channel's Lynette Jennings Design and HouseSmart, is peddling doorknobs at Home Depot.
If you want to see how varied the consumers of the new luxuries are, just take a tour of your local Costco or Sam's Club parking lot. Observe the shiny new imported sedans and SUVs alongside aging subcompacts. Or spend an hour watching what is being sold on the Home Shopping Network, a televised flea market for impulse buyers. The system now has 23,000 incoming phone lines capable of handling up to 20,000 calls a minute. Home Shopping no longer sells just cubic zirconium rings. Not when the real money is in designer handbags.
In the older culture, my dad's culture, the limited production capacity of the economy sharply reduced aspirations to material comfort. In the modern world, my culture, much greater material satisfactions lie within the reach of even those of modest means. Thus a producer culture becomes a consumer culture, a hoarding culture becomes a surplus culture, a work culture becomes a therapeutic culture. Because what you buy becomes more important than what you make, luxury is not a goal; for many it is a necessity.
Luxury Creep
Michael J. Apter, a psychologist at Northwestern University, has studied why we do things and, by extension, why we buy things. In The Experience of Motivation: The Theory of Psychological Reversals, he divides general orientations into telic (arousal reducing) and paratelic (arousal seeking). A telic motivation starts with isolating a need and then feeling anxious about resolving it. The experience ends, if successful, with a feeling of relaxation. If the ending does not satisfy the need (postdecision dissonance), the anxiety continues, and the process is repeated until it abates. A paratelic tendency, however, begins in a state of well-being that edges over into boredom. The person seeks excitement and judges the act by the experience. Does it resolve boredom? Not to put too fine a point on it, but consuming luxury for many Americans has gone from relic to paratelic, from product to process, from problem resolution to emotion seeking, from object to experience.
The one characteristic of modern luxe is its profound oxymoronic nature: If everyone can have it, is it still luxury? If you want to see the difference that a generation makes in downshifting luxury, just look at how top-of-the-line domestic automobiles are advertised. Compare Cadillac in the early part of the 20th century with Lincoln at the end of the century, and you'll get the idea.
Cadillac's pitch in a 1915 advertisement was that luxury comes at a price and that price includes humility, even mild mortification. You buy this car and you take responsibility for sharing excellence. The true price of luxury is not cheap. In fact, you will be reviled, assailed, and envied. This car is a laurel. Be careful how you wear it. The real headline is not just "The Penalty of Leadership," it is "The Penalty of Luxury."
By contrast, Lincoln's current pitch is pure indulgence: Buy this object and let your lust for comfort run wild. Lincoln is "what a luxury object should be." And after all you've been through, you deserve it. If not to own, then to lease.
Needless to say, as the 20th century faded into oblivion, Cadillac, which had a history of "owning" the luxury category, lost its vaunted place as the best-selling domestic luxury car to Lincoln. The Lincoln division of the Ford Motor Car Company has a single-word advertising motto: "Luxury."
Perhaps the best example of what I call luxury creep, in which a down-market product comes uptown solely on the basis of advertising, is the Buick Century. Buick has had a history of being a car for strivers who have not quite made it. Just look back on Buick advertising in the '60s, and you can see the company's typical reticence. In 1965 Buick advertising carried the tag line, "Wouldn't you really rather have a Buick?," which survived through the 1980s. In 1980 the company added a second theme: "The great American road belongs to Buick." Then in 1986 the McCann-Erickson ad agency positioned Buicks as "premium American motorcars."
Now Buick does have a luxury car, the Park Avenue. But the Century is an underling, now positioned as "a luxury car for everyone." Never mind that the tag line is an oxymoron. The problem is more fundamental. This car is just a standard Buick, which is just a jazzed-up Chevy, which is just a dumbed-down Cadillac, which is just an Oldsmobile, which is just like tons of Fords and Chryslers, as well as most Japanese midrange cars. The only luxury about it is the pretension of saying this is luxurious.
Punk Luxe?
In the last few years I have spent hours flipping through a new genre of magazine--The Robb Report, Millionaire, Indulgence, Flaunt, Luxe, Icon, Self: The Best of Everything, Ornament: The Art of Personal Adornment--as well as standard glossy pulp from Cond Nast like GQ Vogue, Vanity Fair, and, most recently, Lucky. I have trolled Rodeo Drive, Worth Avenue, and upper Madison Avenue and traveled to Las Vegas, where I stood agog for hours in the Bellagio and Venetian hotels.
I admit from the start that you could argue that this is not real luxury but a kind of ersatz variety, punk luxe, and maybe you would be correct. My father would have argued that real luxury is characterized not by shine but by patina, that its allure comes from inborn aesthetics, not from glitzy advertising, that it is passed from generation to generation and cannot be bought at the mall, and, most of all, that its consumption is private, not conspicuous. His words for modern luxury would have included gauche, vulgar, nouveau, tasteless, and, most interestingly, offensive.
In fact, maybe the rich have only two genuine luxury items left: time and philanthropy. The rest of us are having a go at all their stuff, albeit for a knockoff to be held only a short time. I can't afford a casita on Bermuda, but my timeshare can get it for me at least for a week. I can't own a limo, but I can rent one. If I can't fly on the Concorde, I can upgrade to first class with the miles I "earn" by using my American Express card. I can lease a Lexus.
In a sense luxury objects don't exist anymore as they used to because "real" luxury used to be for the "happy fe," and in the world of the jubilant Dow there is no more "happy few." The world that we live in, as John Seabrook recently argued in Nobrow: The Marketing of Culture and the Culture of Marketing, and as David Brooks explored in Bobos in Paradise: The New Upper Class and How They Got There, no longer easily fits into intellectual classes. It now fits into consumption communities. So, for instance, we don't talk about high class, upper middle class, and middle class. Instead we talk about boomers, yuppies, Generation X, echo-boomers, nobrows, bobos (short for bourgeois bohemians), and the rest, who show what they are buying for themselves, not what they do for a living. And that's why each of these groups has its own luxury markers--positional goods, in marketing jargon--to be bought, not made.
High Brow to Nobrow
In a way, the new luxury is the ineluctable result of a market economy and a democratic political system. As journalist Thomas Beer wrote, "Money does not rule democracy. Money is democracy." Back in the late 1940s Russell Lynes, editor of Harper's, concocted a taxonomy of taste: high-brow, upper middlebrow, lower middle-brow, and lowbrow. His system, as gleefully celebrated in the April 11, 1949, issue of Life magazine, was scandalous when published, the topic of much cocktail party concern.
Lynes knew even then that Americans were no longer divided by "wealth, birth, or political eminence" but by consumption. These material distinctions were further explored in the 1980s in Paul Fussell's Class: A Guide Through the American Status System. Tongue almost in cheek, Fussell even proposed a new class, what he called "category X people," to be based not on material consumption but on a shared taste for the better life. Fussell got the phenomenon of the "massification" of the upper class correct, and he certainly understood how the democratizing of luxury was a mixed blessing, but he missed the materiality of this confluence. Instead of superfluous stuff being pushed aside, it became even more central. You had to buy your way out, one Volvo, one glass of merlot, one bow tie, one Sub-Zero refrigerator, one granite countertop at a time.
From time to time in Western history there is vociferous antipathy toward high-end consumption. From Plato to the early Christians to the Renaissance, luxury was thought to effeminize and weaken. But this was hardly a pressing problem, because just getting to the necessities of life was a full-time job for most.
With increasing affluence this view shifted. Luxury became dangerous not because of debasement but because it was a sign of overreaching, of getting out of place. An interesting transformation shows how fluid this category can be. In the Renaissance, luxury objects became those things thought worthy of being painted. Such objects were called objets d'art. Now, of course, the luxury object is the painting itself. But you can see that even before the industrial revolution there was a growing desire to show stuff off, to use the material world as marker of social dominance, to strut, to flaunt.
By the 18th century, social critics like Bernard Mandeville and economists like Adam Smith were beginning to suggest that, for improving the weal of humanity, the promise of consuming luxury might be a better carrot than the stick of shame. Yet there was still deep resentment for consuming out of your class, beyond your means.
This suspicion about consuming beyond your class continued well into the 19th century. In fact, ancient sumptuary laws, explaining exactly what objects were forbidden by church and state, were read from the Anglican pulpit until the 1860s. Reading these laws took two hours of church time to complete, and the laws kept people in their places, if only to have to listen to them.
Clerics, clearly supported by the aristocracy, were not alone in stiff-arming luxury. With the onset of industrial surpluses, secular pundits like Henry David Thoreau railed against what they took to be the excesses of mass production. "Most of the luxuries, and many of the so-called comforts, of life are not only not indispensable, but positive hindrances to the elevation of mankind," he pointed out in Walden.
By the fin de sicle this view of high-end consumption had so exploded that Thorstein Veblen unloosed the first modern sustained attack on luxury in his thoroughly entertaining Theory of the Leisure Class (1899). Coining all manner of nifty concepts like conspicuous consumption, invidious comparison, bandwagon effect, symbolic pantomime, vicarious leisure, and parodic display, Veblen had at the excesses of robber-baron shopping.
The Leisure Classic
In fact, one might say that Veblen enjoyed it rather too much and succeeded only too well. When he formulated his theory of the leisure class at the turn of the century, ostentation in dress was at its full plumage, not least because new money was desperate to prove that it had made it to high society. Veblen's argument was so simple that it cut like Occam's razor. It has proved so powerful that it has achieved the stares of unquestioned truism.
Here is Veblen's argument: As wealth spreads, what drives consumers' behavior is increasingly neither subsistence nor comfort but the attainment of "the esteem and envy of fellow men." Because male wage earners are too circumspect to indulge themselves, they deposit consumption on surrogates, on loved ones. Vicarious ostentation--the way that plainly dressed Victorian men encouraged their wives and daughters to wear complicated trappings of wealth--is how this unfolds. Ditto their servants, horses, and even house pets.
In retrospect, Veblen was too successful, too neat, too sharp. Veblen thought that the purpose of acquisition was public consumption of esteem, status anxiety resolved by material display. Not much more. Wealth, he argued, confers honor; it suggests prowess and achievement. But wealth would have no social meaning were it simply consumed or possessed. "In order to gain and to hold the esteem of men," he wrote, "it is not sufficient merely to possess wealth or power. The wealth or power must be put in evidence, for esteem is awarded only on evidence."
Thus the absolute centrality of conspicuous consumption. In what Veblen called "barbarian culture," trophies such as property or slaves were signs of successful aggression. In modern societies luxury is a sign of status and class. It's what we have for harems. But only certain sorts of goods work this magic. There is no rational system. The only constant is that consumers seek the luxurious object for two reasons: to show that they are members of the classes above and to distinguish themselves from those below. Veblen calls the first motive "pecuniary emulation"; the second, "invidious comparison."
From this comes the economic irrationality of the Veblen effect, namely, that the value of a luxury object is in direct proportion to its cost. Raise the price of certain luxe objects and you increase their value. The Veblen effect is why a T-shirt sold at Sears costs less than the same T-shirt at the Gap, which costs less than the same T-shirt at Hugo Boss, and so forth. Could you sell Evian water if it were priced below a generic? What about Ben & Jerry's ice cream? The Robb Report? A Lexus? An Ivy League education? It is not enough for me to know what I paid for opuluxe. You have to know.
Today these products, which are no more (and maybe less) useful than their functional equivalents, are sometimes called "positional goods," goods that are valued not despite their expense but because of it. Indeed, Veblen argued that since the reasons for buying such goods are "pecuniary emulation" and "invidious comparison," their utility rises as their prices go up. With insights like this, Veblen proved himself to be too strong a critic to dismiss. You don't need to have read a word he wrote to know him. He set the tone of modem criticism.
Economic Moralism
The second modern attack on luxury came in the 1950s with John Kenneth Galbraith's The Affluent Society and, to a lesser degree, the popularizing work of Vance Packard in he Hidden Persuaders, The Status Seekers, and The Pyramid Climbers. Veblenism is all over these books. Galbraith had read Veblen, if not wisely, then too well. In fact, he had edited Theory of the Leisure Class with all kinds of approving nods and winks. Packard and his snappy titles went along for the ride. To these critics high-end consumption is against our "better nature"; we are duped into consuming by advertisers; consumers are dolts who should be doing other things; luxury is consumption run amok.
The usual suspects for Galbraith had changed from the captains of industry to the Joneses across the street. Keeping up with them was every bit as dangerous as it had been for a Carnegie to keep up with a Vanderbilt, a Morgan with a Gould. Perhaps even more dangerous because these Joneses now are so numerous. And, as opposed to the robber barons who were outfitting family members, this new solipsistic breed of showoff was outfitting himself.
Veblen's descendants are still at it. Following in the footsteps of Galbraith have been two moralists passing as economists: Juliet Schor, a professor now at Boston College, who has published The Overspent American: Why We Want What We Don't Need, and Robert Frank, a professor at Cornell, who contributed Luxury Fever: Why Money Fails to Satisfy in an Era of Excess. Just read the subtitles.
The modern attack usually centers around a specific object as an exemplum. While Galbraith disliked Cadillac tail fins, Schor disdains granite countertops in the kitchen, and Frank holds up expensive watches as symptomatic of bad habits. On the surface they have such good points: How do those fins help the car move, are those stone countertops better than Formica, does a Lucian Picard keep better time than a Timex?
But here's the problem. The 1958 Cadillac has been featured in the Museum of Modern Art's retrospective show celebrating industrial design as art, and if you now want to buy one in mint condition, you'll pay about 20 times the purchase price. The granite countertop really makes more sense as a cutting surface than as a slab to lay down over the dead body of Uncle Louie, and--who knows?--it might even be passed from generation to generation, while the sensible Formica is carted out to the dump. And had Frank invested in Lucian Picard watches at the beginning of the bull market, he would have made more on his watch investment than on the S&P 500. Drats! That this stuff could have increased in value tells us how slippery these slopes can be.
No matter. Critics of consumption love to point out that people with these things are no happier than people without them. Ergo, why buy extra stuff? But people who can't buy unnecessary opuluxe are definitely unhappier for not being let into the cycle; buying this notational stuff and having such stuff are different experiences; consumers move in definite stages, from adolescence, where consumption is central, to middle age, where it ceases to be so important, to old age, where having things is positively a hindrance. Religious fanatics invariably rank highest on happiness scales, irrespective of culture or religion. Let's give happiness a rest. Consumption of the new luxury is about far more interesting sensations.
Whereas Veblen contended that male aggression caused the crazed consumption of deluxe items at the end of his century, these modern critics are more au courant in putting forth their etiology. They medicalize consumption, in large part because the bulk consumers of luxe are now young women. The diagnosis, although they would never use this precise term, is addiction. We are addicted to luxury. That's what causes the fever. That's why we yearn for what we don't want. Diagnosis from the National Public Radio crowd: not just Sudden Wealth Syndrome but the dreaded "affluenza."
Over the Top
I must say that I found most of the luxury objects that I've looked at, from Patek Philippe watches to Porsche Turbos to the men's room of the Bellagio Hotel, to be a little over the top. But I am not so oblivious to the world around me that I can't appreciate how important the new luxury has become. And I can't overlook how high-end consumption promises to do exactly what critics of the stuff have always yearned for, namely, to bring us together, often traumatically. Yes, indeed, the transgenerational poor are excluded, as the bottom fifth of our population has not budged an inch in the luxe explosion. Yet more people than ever are entering the much-vaunted global village because of consumption, not despite it.
In fact, one could argue, as Dinesh D'Souza, Virginia Postrel, and W. Michael Cox and Richard Alm have recently done, that the aspiration of the poor to get at these unnecessary goods has done more than any social program to motivate some of the disenchanted to become enfranchised. While one may be distressed at seeing a dish antenna atop a ramshackle house or a Caddie out front, the yearning to have superfluous badges of affluence may promise a more lasting peace around the world than any religion or political system has ever delivered. I don't mean to overlook the complexities here.
This is not a universal phenomenon, as the al Qaeda have wickedly demonstrated. Some of the world's poor are most certainly not becoming better off in absolute or relative terms. I only want to say that, given a choice between being mugged for your sneakers or having your ethnic or religious heritage cleansed, the lust for sneakers may prove a more lasting way to improve the general lot of humanity.
Let's face it. In the world that I grew up in, your religion, your family name, the color of your skin, your language skills, your gender, where you went to school, your accent, and your marriage partner were doing the work that luxury consumption does now. My dad went to Exeter, Williams, and Harvard Med, and he never drove anything fancier than a Plymouth. He never had to. Today I wouldn't go to a doctor who drove a Plymouth. I would figure that if she doesn't drive a Lexus, she is having trouble with her practice.
So I admit the ugly truth. After spending the last few years trying to understand the pull of the material world, I am far more sympathetic to its blandishments and far more forgiving of its excesses. The democratization of luxury has been the single most important marketing phenomenon of modern times. And it has profound political implications. It may not be as bad as some lifestyle scolds make it out to be. In its own way it is a fair, albeit often wasteful, system, not just of objects but of meaning. Don't get me wrong: It's not that I came to mock and stayed to pray, but I do feel that getting and spending has some actual worth. Nobody checks the number of vowels in your name, or the color of your skin, or whether you know the difference between like and as when you are buying your Prada parka--that's got to mean something.
Although luxury has become a mallet with which one pounds the taste of others, this misses some essential points. One is that humans are consumers by nature. We are tool users because we like to use what tool using can produce. In other words, tools are not the ends but the means. So too materialism does not crowd out spiritualism; spiritualism is more likely a substitute when objects are scarce. When we have few things, we make the next world luxurious. When we have plenty, we enchant the objects around us.
Second, consumers are rational. They are often fully aware that they are more interested in consuming aura than objects, sizzle than steak, meaning than material. In fact, if you ask them--as academic critics are usually loath to do--they are quite candid in explaining that the Nike swoosh, the Polo pony, the Guess? label, the DKNY logo are what they are after. They are not duped by advertising, packaging, branding, fashion, and merchandising. They actively seek and enjoy the status that surrounds the object, especially when they are young.
Third, we need to question the standard argument that consumption of opuluxe almost always leads to disappointment. Admittedly, the circular route from desire to purchase to disappointment to renewed desire is never-ending, but we may follow it because the other route--from melancholy to angst--is worse. In other words, in a world emptied of inherited values, consuming what looks to be overpriced fripperies may be preferable to consuming nothing.
Finally, we need to rethink the separation between production and consumption, for they are more alike than separate and occur not at different times and places but simultaneously. Instead of wanting less luxury, we might find that just the opposite--the paradoxical luxury for all--is a suitable goal of communal aspiration. After all, luxury before all else is a social construction, and understanding its social ramifications may pave the way for a new appreciation of what has become a characteristic contradiction of our time, the necessary consumption of the unnecessary.

Art History Mod 4
SLP ? The Impressionists
The objectives for this Session Long Project include introducing some information about how the social, political, or religious history influenced the art or artist you have chosen to reflect on. Your reflection should identify some of the typical values and characteristics of Impressionist art. This information should, ultimately, serve to inform your own personal reaction to the artwork and/or the artist. You have the opportunity to make connections between your own personal interests and the concepts you are learning. You have more freedom to engage with particular issues are of interest to you. However, your engagement must reflect the research and background information you have read for the course module. Make sure to include the image itself or a link to it in your text.

Art History Mod 3 ? Case
Neo-Classical Art and Romanticism
Image of Jacque-Louis David?s Oath of Horatti: http://upload.wikimedia.org/wikipedia/commons/b/bb/David-Oath_of_the_Horatii-1784.jpg
Image of Eug?ne Delacroix, Liberty Leading the People: http://upload.wikimedia.org/wikipedia/commons/2/21/Eug%C3%A8ne_Delacroix_-_Liberty_Leading_the_People_(28th_July_1830)_-_WGA6177.jpg

The Age of Enlightenment was followed by the Romantic period, an expanse of time that saw the French Revolution, the American Revolution, the rise and fall of Napoleon, major scientific advances, major loss of human life, devout faith in the doctrine of human reason, and the loss of faith in human reason and a return to the sublime right of nature and spirituality. In short, a span of time defined by massive change and inconsistency. In this case assignment, compare the Neo-Classicist painter Jacque-Louis David?s Oath of Horatti and Romanticist painter Eug?ne Delacroix, Liberty Leading the People, in order to examine how these artists represented these tumultuous years. Again, use the formal language of visual analysis to explore their artistic approaches. Briefly reference the two previous art styles we have studied (Renaissance and Baroque) in order to trace how these two new art styles (Neo-Classicism and Romanticism) differ or carry on the earlier traditions. Use the required course materials to help you discuss, briefly, (1) the history of Neo-Classical and Romanticist art and these two artists in particular, (2) the different approaches and beliefs in human reason and rationality, and (3) how David and Delacroix chose to convey revolution.
It is important to note that this assignment is your third encounter with Art History and Art Criticism, and it is equally important that you continue to exercise your ability to visually analyze. The required course materials under ?How To Write About Art: Art Criticism and Formal Analysis? will continue to aid you in developing these skills.
Expectations for All Assignments
? An explanation of the values?influences, themes, techniques, subjects?characteristic of the period or style under study.
? Some information about how the social, political, or religious history of the period influenced its art and artists.
? Biographical information about the artist whose work is assigned or (in SLP assignments) chosen for reflection.
Here are five keys to writing a great case assignment! For each case paper in this course, please:
1. Make sure you fully address the case assignment prompt- don't just describe the painting and don?t forget to ?really look? at the painting. Be sure to respond to the expectations stated under "Learning Objectives" in the Syllabus.
2. Apply ideas from the background readings to your analysis and discussion of the case assignment prompt.
3. Include a separate cover page that includes your name, the course name, the module, and assignment name.
4. Set your format to 1" margins on all four sides, 12-point font, double spaced. The Case Study essays should be 3-4 pages, double spaced, and the SLP assignments should be 2-3 pages.
5. Include a separate cover AND reference page at the end that includes every website and article on which you base your information and analysis. In the reference list, please note that a URL with no additional information is not a complete reference. Over time, link root will make any URL useless. Each reference should contain all the information a reader would need to find the source.

Arts and Humanities Foundation
Nature, Culture, Progress



On our course syllabus, the following appears under the course description: Humans are simultaneously part of and distinct from Nature. On the one hand, we possess myriad natural instincts, but, of course, they do not completely define us; each of us is also a cultural being endowed with traditions, identities and technologies that distinguish us from Nature. We have begun to consider questions such as:
How do artists represent Nature and our relationship to it?
What have some well-known authors, artists, musicians and philosophers thought about Nature?
To what extent are humans natural and to what extent are they formed by culture?

We have also thought about how several artists and philosophers have considered humans proximity to and distance from nature as well as relationships between Human Nature, Nature, Culture and Progress. We have read Annie Dillards In the Jungle, Jean-Jacques Rousseaus Discourse on the Origin of Inequality and Richard Holmes The Age of Wonder. We have looked at paintings by Thomas Cole, John Constable, J.M.W.Turner, Asher Durand, and Caspar David Friedrich. We have listened to Igor Stravinskys seminal work Rite of Spring. We are now reading Ralph Waldo Emersons essays The American Scholar, Nature and Self-Reliance, and sections of Henry David Thoreaus essay Walden. After that, we will consider a selection of Emily Dickinsons poems, and a short story by Nathaniel Hawthorne. We will view Agnes Vardas film The Gleaners and I and a variety of animated short films including, among others, Das Rad, Tout Rien and Rabbit.

For this synthesis essay, you will write about Nature, Culture and Progress by thinking about a pithy aspect of Rousseaus Second Discourse that you find interesting and connecting it in some way to three or four of the other works that we have read, looked at or listened to. (The ideas you present in your essay are yours alone??"you do not need to do any outside research.) Choose three or four of the texts/films by different authors/filmmakers and write about them in a way that seems meaningful to you in terms of our courses themes??"please see the list on the syllabus. In other words, do not choose more than one essay, poem, story, or film by each author/filmmaker. You must include one of the animated films in your discussion.
You may compare, you may contrast, you may compare and contrast; you may argue??"the organizing principle is entirely up to you. The only requirements are that you discuss some aspect of Rousseau and three or four other pieces; other than that, the choices are yours.


Use the following check boxes to make sure that you have avoided these common errors before you hand in your essay. Use Diana Hackers A Writers Reference when necessary. Be sure to visit the writing center if you need to.

? In the upper left hand corner, single-spaced:
Your name

A & H 1300 Nature, Culture, Progress

? Interesting title is centered and is not underlined, bolded or in quotation marks.
Consider a title with a colon for maximum effect. For example,
Images of the Other: Creature, Spider and Death in Mary Shelley and Emily Dickinson.
? Writers, painters, poets, musicians, philosophers, film makers, title, genres, years of publication or release or first performance and relevant characters are introduced in introductory paragraph.
? Pithy thesis statement is at conclusion of lucid introductory paragraph.
? Text titles are italicized.
? No contractions.
? Standard essay formatting:
? 1 margins all around.
? 12-point font
? Essay is evenly double-spaced. (No quadruple spacing ever,)
? Paragraphs are at least five to seven sentences long.
? Page numbers of quoted material appear at the end of the sentence in which they appear like this (Rousseau 42). Period follows the parentheses.
? Literature is discussed in the present tense??"it is not history; it is alive.
? Parallel structure in all of its forms is minded:
? Pronouns agree with their antecedents.
? Verbs agree with their subjects.
? Tense is consistent.
? People are who or whom and things are that.
? Plurals and possessives are not confused (for example, its and its).
? All sentences are connected to those that precede and follow them.
? Transitions create a smooth, connected flow that leads your reader from paragraph to paragraph.
? Sentences that begin with subordinating conjunctions or prepositional phrases contain commas.
? Vocabulary is interesting and diction is correct.
? Quotations are introduced and concluded, meaning that you never conclude a paragraph with a quotation; you conclude with your own analytical words.
? Quotations limited to the minimum amount necessary to support your point.
? Appositives are correctly punctuated. (For example: Shelley, the author of Frankenstein, wrote the novel after participating in a ghost story contest.)
? The conclusion brings your essay to an end by drawing a conclusion and does not simply reiterate what has already been said.
? A Works Cited list is appended. Review how to cite different formats in A Writers Reference.

Art History: The Visual Record

VISUAL HISTORY TIMELINE
Investigate the artworks produced during The Eighteenth and Nineteenth Centuries period, of the five works of art created that are listed below. Explore all of the elements covered in the text book A World of Art, by Henry M. Sayre (Chapter 20)

For each of the five works of art listed below, write 200 words answering the following questions:
Title of Artwork
Artist, Date
Medium
Image or Link to an Image

Iconography
-W hat do you see? What is the subject matter?
- Identify the symbolic representations.

Medium and Technique
-What materials did the artist use to make the artwork?
- How did the artist construct it?

Formal Elements
-Observe and describe the line, color, space, light, texture, and pattern.
-What principles of design are evident? Explore balance, scale and proportion, repetition and rhythm, unity and variety.

Content
-Place the object in context.
-Identify the historical, political, social, economic, and ideological conditions of the era.
-Explain what the work of art means. What does it reveal about the society in which it was created?

Using MLA format.
Must use in-text citations and provide a list of Works Cited.
There should be at least 3 sources, not including your text.
The focus for each artwork will be content. (The focus for each artwork will be content. Provide a visual history of The Eighteenth and Nineteenth Centuries period.)

Useful links
http://www.artcyclopedia.com/
http://wi`tcombe.sbc.edu/ARTHLinks.html
http://www.artcyclopedia.com/museums-us.html

Peaceable Kingdom, ca. 1830??"32
Edward Hicks (American, 1780??"1849)
Oil on canvas
17 7/8 x 23 7/8 in. (45.4 x 60.6 cm)
Gift of Edgar William and Bernice Chrysler Garbisch, 1970 (1970.283.1)
ON VIEW: GALLERY 757 Last Updated March 21, 2013
Edward Hicks, a Quaker preacher and sign painter, painted approximately sixty versions of the Peaceable Kingdom. The painting represents the messianic prophecy of Isaiah 11:6: "The wolf also shall dwell with the lamb, and the leopard shall lie down with the kid; and the calf and the young lion and the fatling together; and a little child shall lead them." The presence of additional animals and children on the left is due to Hicks' inclusion of the seventh and eighth verses. Hicks derived the composition, a popular nineteenth-century Bible illustration, from an engraving after a drawing by the English artist Richard Westall. The theme of a peaceable community of animals was one often used as a political metaphor, and was adapted by Hicks himself. The artist sometimes included scenes of Penn's treaty with the Indians, intending Penn's flock to stand as a sort of partial fulfillment of the biblical prophecy.

View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm??"The Oxbow, 1836
Thomas Cole (American, 1801??"1848)
Oil on canvas
51 1/2 x 76 in. (130.8 x 193 cm)
Gift of Mrs. Russell Sage, 1908 (08.228)
ON VIEW: GALLERY 759 Last Updated March 21, 2013
Long known as The Oxbow, this work is a masterpiece of American landscape painting, laden with possible interpretations. In the midst of painting The Course of Empire (New-York Historical Society), Cole mentioned, in a letter dated March 2, 1836, to his patron Luman Reed, that he was executing a large version of this subject expressly for exhibition and sale. The picture was shown at the National Academy of Design in 1836 as View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm. Cole's interest in the subject probably dates from his 1829??"32 trip to Europe, during which he made an exact tracing of the view published in Basil Hall's Forty Etchings Made with the Camera Lucida in North America in 1827 and 1828. Hall criticized Americans' inattentiveness to their scenery, and Cole responded with a landscape that lauds the uniqueness of America by encompassing "a union of the picturesque, the sublime, and the magnificent." Although often ambivalent about the subjugation of the land, here the artist juxtaposes untamed wilderness and pastoral settlement to emphasize the possibilities of the national landscape, pointing to the future prospect of the American nation. Cole's unequivocal construction and composition of the scene, charged with moral significance, is reinforced by his depiction of himself in the middle distance, perched on a promontory painting the Oxbow. He is an American producing American art, in communion with American scenery. There are both sketchbook drawings with annotations and related oil sketches of this subject. Many other artists copied or imitated the painting.

Kindred Spirits, 1849
Asher B. Durand (American, 1796??"1886)
Oil on canvas
Courtesy Crystal Bridges Museum of American Art, Bentonville, Arkansas (L.2008.21)
Kindred Spirits is the quintessential Hudson River School landscape. Its subjects are Thomas Cole (with portfolio), the founding father of the school, and William Cullen Bryant, the well-known nature poet and editor. The men stand on a ledge in one of the cloves, or gorges, of the Catskill Mountains, the source of the landscapes that made Cole famous and continued to inspire his followers. Durand was Cole's earliest disciple and a close friend of Bryant, and executed this picture at the request of Jonathan Sturges, a patron of both artists. Sturges gave the painting to Bryant in honor of the eulogy the poet delivered at the memorial service for Cole, who died in February 1848. Invoking a phrase from John Keats's seventh sonnet, "O Solitude," Sturges asked Durand to portray Cole and Bryant together as "kindred spirits" in the landscape. Accordingly, Durand adjusted his fastidious approach to natural forms, such as the rocky ledge and overhanging tree limbs, to suggest Keats's poetic references to "nature's observatory" and "boughs pavillion'd." Aside from its historical significance, the painting embodies the marriage of naturalism and idealization central to Hudson River School aesthetics.

The Veteran in a New Field, 1865
Winslow Homer (American, 1836??"1910)
Oil on canvas
24 1/8 x 38 1/8 in. (61.3 x 96.8 cm)
Bequest of Miss Adelaide Milton de Groot (1876??"1967), 1967 (67.187.131)
NOT ON VIEW Last Updated March 21, 2013
Painted through the summer and fall of 1865, not long after the nation came to grips with Robert E. Lee's surrender and mourned President Lincoln's assassination??"both of which occurred during the second week of April??"Homer's canvas shows an emblematic farmer who is a Union veteran, as is signified by his discarded jacket and canteen at the lower right. The painting seems to blend several related narratives. Most soldiers had been farmers before the Civil War. This man, who has returned to his field, holds an old-fashioned scythe that evokes the Grim Reaper, recalls the war's harvest of death, and expresses grief upon Lincoln's murder. The redemptive feature is the bountiful wheat??"a Northern crop??"which could connote the Union's victory. With its dual references to death and life, Homer's iconic composition offers a powerful meditation on America's sacrifices and its potential for recovery.

John Biglin in a Single Scull, ca. 1873
Thomas Eakins (American, 1844??"1916)
Watercolor on off-white wove paper
19 5/16 x 24 7/8 in. (49.2 x 63.2 cm)
Fletcher Fund, 1924 (24.108)
NOT ON VIEW Last Updated March 21, 2013
In 1873, when Eakins began painting watercolors for exhibition, he took up sporting scenes. This sheet is a replica of a watercolor (Yale University Art Gallery) that he sent to his Parisian teacher, Jean-Lon Grme, for criticism. His master wrote, "Your watercolor is entirely good and I am very pleased to have in New York a pupil such as you who does me honor."

Art & Ideology Essay Instructions


Write a short essay about the various ways in which art and ideology were linked in the contexts of the First World War, Mexico after the revolution, the Third Reich, the Soviet Union and/or the United States (in your paper you should address at least two of these topics).
Try to specify and characterize the role of individual artists, critics, art historians, politicians. How did artists (try to) convey political messages in their works? How were they interpreted? How did politicians make use of the visual arts? Where did art legitimize the existing political order or confirm the dominant ideology? Where did art criticize the political order or oppose the dominant ideology? Not all of these questions have to be addressed; choose from them and supplement them according to the specific argument you want to make.

** THE TEXT: WHO PAID THE PIPER BY FRANCES STONOR SUNDERS MUST BE CITED IN THE ESSAY** IT IS IN THE E-MAIL ATTACHMENT

Make use of the reader text and the notes from the lectures. Use references (footnotes) when quoting or paraphrasing passages from the literature, mentioning author, title, place and year of publication and page number(s), for instance: Kenneth Silver, Esprit de Corps. The Art of the Parisian Avant-Garde and the First World War, 1914-1925 (Princeton, NJ 1989) pp. 58-59, or: Betty Ann Brown, The Past idealized: Diego Riveras Use of Pre-Columbian Imagery, in: Cynthia Newman Helms (ed.), Diego Rivera. A retrospective (New York & London 1986), p. 150.
Start your essay with a short introduction specifying the topic and question(s) you want to tackle, conclude with a short reflection on the questions as formulated in the introduction. Write your essay in the form of an argument: try to convince the reader (me) of the point(s) you want to make.
In grading the paper, the following criteria will be taken into account: cogency, profundity and originality; correct use of sources (reader texts, lectures); stylistic fluency and correct spelling; lay-out; and respect for the deadline.

If you have any further questions about this assignment, dont hesitate to email me @ [email protected]
There are faxes for this order.

Art & Society
Russian constructivism
I request that the writer ?Yeatsmom? answers these questions if possible.
? Explain/Describe /Define the style of Russian Constructivism
? Define the time Period
? Define the key characteristics
? What does the art (painting, photography and sculpture) of the following artists look like:
o Malevich,
o Rodchenko,
o Popova

? Include Biography of each artist mentioned
? How do the artists participate in the Russian Revolution?
? Describe Russian Revolution
? How does it relate to ?De Stijl?, describe this style, major works of art, artists, when and where it happened
? What brought an end to the movement?
? Examine women roles in the movement.

It is very important to include pictures of each painting or print mentioned, but not more than one page in total. Specify where to find the pictures mentioned in the text.
Mention and research each single part of these questions.
MLA style is required, therefore please insert into the text in parenthesis "...(author, page number)" where you got those information from, even if it is not a quote.
The Bibliography should be in alphabetical order and include in the following order: "Author's Last name, Author's First name. Title of book. City where published: publisher, date of publication."
Include bibliography. Including 10 sources, 5 from books AND 5 from the internet. Double spaced. Times new roman.

Education: Is College a right or a privilege?.... Compared to other countries.value we place on ed reflected in its access

Here is a suggested structure:

INTRO
-Argumentative Thesis =

Although (c), (a) because (b)
a=assertion
b=reasoning (premises)
c= opposition
BODY
-Definitions

-Explanations
Context


OPPOSITION(Pro-IntelDes)
-

Answer to Opposition/ASSERTION


CONCLUSION
Restate thesis, summarize the essay, call for action

4-5 pages
more than Three secondary academic sources


Note: I'm from Korea. I want you to write about other coutries' situation of Education. How they are concerened about ecducation.