Childhood Reflection Paper - 1067 Words

I wish I was told what I was going through physically and emotionally throughout my childhood. This is a paper about my life and I will incorporate the course material throughout this assignment. I remember when I was around 5 years old when my brother accidentally cut off his finger with a small saw. We were doing yard work and were all helping and I turn around to see my little brother with a small saw. He pressed the button which turned on the machine and there his finger was on the grass. I was so shocked to see what had happened and I screamed for mom and dad. He was in so much shock that he didn’t even move. It was so bloody that I almost passed out because I felt so queasy. Sigmund Freud would say that was a traumatic experience for†¦show more content†¦A place where I can stay off the streets, stay away from gangs, and provides a positive place to spend my time. I walk in and see a bunch of other kids just having a good time. My dad always told me to make good friends because they will always help you if you need them. I learned that friends provide a â€Å"mirror† that helps adolescents to gain a sense of who they are (Friendships Handout). I also learned that friends around that age are people you can trust. Not only that but who can be laid back and share personal qualities like good character and respect. B.F. Skinner would suggest the club is the most important aspect of my childhood development and I will wholeheartedly agree. While I was aging through my pre-teen years, I unknowingly suffered from identity foreclosure because I was so confident that I wanted to become either a cop or a firefighter (Identity Handout). It was a noble position that many in society respect because my dad always lectured me in being polite and fair to others. Good to know I was going through an identity state and I had much more to learn. Fast forward again and now I’m in junior high and in my early teen years. This is where the majority of people find themselves or go through many phases until they find the one they like. In my teens, I learned more about puberty, sexual education, and drugs. My teenage years were okay because I didn’t pay too much attention to other people because I wanted to stayShow MoreRelatedReflection Paper On Childhood748 Words   |  3 PagesChildhood Memory Everyone in their lives has learned something from their childhood that stayed with them until adulthood. It could be a good experience or not that great experience. Personally my lesson wasn’t so great and has caused me to get in trouble with my parents. In first grade at Anthony Elementary School, I was compelled by a friend to steal. Because of this experience, I learned to listen to what my â€Å"gut† tells me about people, that some people might not be good to have as a friendRead MoreSocial Care Reflection Paper1406 Words   |  6 Pagesand my family relies on the help of family and friends instead. 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The author of this paper will provide an examination of the abnormalities of Jack Nicholson’s character Melvin Udall. The purpose of this paper is to investigate to the extent of which Melvin’s abnormalities correlate to the DSM-5 description of Obsessive-Compulsive Disorder (OCD). Further evaluation includes discussing the portrayal, etiology, prognosis, and proper therapeutic approaches for the OCD symptoms exhibit ed by Melvin. Additionally, the author of this paper will analyze and provideRead MoreChildren s Gender Development And Family Studies Professional991 Words   |  4 PagesFor the first reflection paper assignment, the â€Å"How Would You†¦?† question located on page 168 presents the question that is discussed in this paper. This particular question states, â€Å"As a human development and family studies professional, how would you describe the ways in which parents influence their children’s notions of gender roles?† (Santrock, 2015, p. 168). 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When Kane dies and drops the snow globe, you see the nurse’s reflection in the glass as she walks into the room. After Kane convinces the men from the Chronicle to come work for him at the Inquirer, he throws a party; we can see him dancing in a reflection of a window. When Kane is in Xanadu

Roles And Roles Of A Group Member - 1581 Words

In every group, each member plays a part, whether it is clearly defined or not. These are called roles. Similar to roles in the theatre, Ellis Fisher define a role as a â€Å"†¦set of communicative behaviors performed by an individual and that involves the behaviors performed by one member in light of the expectations that other members hold toward those behaviors†. For example, the role of a leader is one that can be found in almost any group where there is one person who directs and controls the group. This is one of the infinite roles that a group member can take on. This definition of roles given by Ellis Fisher explains that roles in groups depend not only on the individual performing that role, but on the expectation of the other group members. Therefore in order for a member to take on the role of group leader, there must be some expectation by the other group members of what that role entails. One of the challenges that groups can face in relation to their roles is role conflict or role strain. According to Ellis and Fisher, there are 3 types of role conflicts: intrarole conflict where a member experiences conflict playing one role, interrole conflict where one person is required to play two different roles at the same time and interpersonal role conflict where two or more members compete for the same role. A role strain, Ellis and Fisher define as a situation where the demands of the group on one member’s behaviour exceed what that member can perform. With all theseShow MoreRelatedMy Role As a Group Member Essay1001 Words   |  5 Pagesperform very well in groups. I am an observer who likes to learn alone. I thought I learned best when I worked on my own. 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These roles add new and important dimensions to interactions of team members. Bruce Tuckman’s team development theory provides a way to tackle the tasks of making a team through the completion of the project. On the part of the team every member played an important role to achieve the success at

A critic in every port familiar dangers Essay Example For Students

A critic in every port: familiar dangers Essay MUNICH: Politics were mostly absent both on and off the stage at Theater der Welt, Germanys biennial international festival of performance, held this year in Munich. Home of sunny weather, green parks, packed beergardens and well-heeled bank employees, Munich appears mostly secluded from the racial violence, the recession and the reunification tension between Ossis and Wessis that have recently confronted other German cities. Even the closure of the Schiller Theatre in Berlin, part of the governments 60-million-DM cut to the arts, caused only a small ripple in the theatrical festivities. Racial hatred and economic blight being by no means exclusively German problems, it was curious to note how, in a festival entitled Theatre of the World, so few shows reflected the political realities of their own communities. The National Theatre of Craiovas two productions, Titus Andronicus and King Ubu and Scenes from Macbeth, were exceptions. Both pieces explore violence in the quest for political power and are obviously rooted in Romanias recent Ceaucescu days. King Ubu, which employs scenes from Macbeth as theatre within theatre, chaos amidst chaos, mixes palpable gore with music hall burleque. In this haunted-house entertainment with a 40-member cast, the acting is Munsters-in-drag meets East European clowns, the tempo is military, the audience is assaulted in the lobby during intermission. The productions finest moments come when violence crosses the line into visceral comedy, and one glimpses the impact the characters bloody and flippant quest for control must have had on it s original Romanian audience. The festival high pointa production called The Street of Crocodiles, created by the England-based multinational troupe Theatre de Complicitewas also politically charged. A testament to the imagination and an outcry against those forces that destroy it, Crocodiles is based on the life of Brunno Schulz, a Jewish writer shot by the Nazis, and his collection of short stories by the same name. The style is good-humored Kafka, where books become birds, men crawl out of traschcans a fraction of their size, characters walk down the wall at a 90-degree angle, woodworking tools become an orchestra, and characters are transformed from human to animal and back again. The choruss mime-based work is superb, taking on the quality of claymation as the play imaginatively suggests rather than tells the story of its central character, Josephwho, like Schulz, falls victim to armed racial hatred. The combination of visual comedy, dark foreboding and sudden terror leaves the audience thoroughly shaken. With the exception of these shows and a pair of presentations from South Africa, the festival programming showed little interest in world politics. Luc Bondys highly touted production of John Gabriel Borkman was a star vehicle, with advance press hailing Michel Piccolis interpretation of the central character. Although executed with great taste and the occasional whiff of black humor, the production regulates its surprises: Bondys direction, with the exception of a few sublime expressionistic moments, remains rooted in the standard naturalistic mode, and Piccolis acting claims a disproportionate amount of the audiences attention and dictates a doddering pace. Near the top of Act 2, Bondy adds an indulgent 20-minute solo for Piccoli in which the actor evokes the doomed financiers shady past by his wordless interaction with the set; the momentum of Ibsens penultimate play evaporates in the process. Far more satisfying was LHomme Qui, Peter Brooks adaptation of The Man Who Mistook His Wife for a Hat, in which 13 case studies, taken almost directly from Oliver Sackss book on disorders of the brain, are reenacted on a small, stark island stage. The striking simplicity of Brooks staging offers little to draw focus from the actors work, but in this instance the focus on the actors serves to create a relationship of great intensity, even complicity, between performer, character and spectator. The pieces four culturally and linguistically diverse actors play both doctors and patients, and, although they work carefully to physically embody the characters, no attempt is made at naturalistic pretense. Accompanied by a live Middle Eastern musical score, they simply present the characters and the case. The result is surprisingly moving. .uab505e5b4723cd48a061ef6c5ccdb8bf , .uab505e5b4723cd48a061ef6c5ccdb8bf .postImageUrl , .uab505e5b4723cd48a061ef6c5ccdb8bf .centered-text-area { min-height: 80px; position: relative; } .uab505e5b4723cd48a061ef6c5ccdb8bf , .uab505e5b4723cd48a061ef6c5ccdb8bf:hover , .uab505e5b4723cd48a061ef6c5ccdb8bf:visited , .uab505e5b4723cd48a061ef6c5ccdb8bf:active { border:0!important; } .uab505e5b4723cd48a061ef6c5ccdb8bf .clearfix:after { content: ""; display: table; clear: both; } .uab505e5b4723cd48a061ef6c5ccdb8bf { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .uab505e5b4723cd48a061ef6c5ccdb8bf:active , .uab505e5b4723cd48a061ef6c5ccdb8bf:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uab505e5b4723cd48a061ef6c5ccdb8bf .centered-text-area { width: 100%; position: relative ; } .uab505e5b4723cd48a061ef6c5ccdb8bf .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uab505e5b4723cd48a061ef6c5ccdb8bf .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uab505e5b4723cd48a061ef6c5ccdb8bf .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .uab505e5b4723cd48a061ef6c5ccdb8bf:hover .ctaButton { background-color: #34495E!important; } .uab505e5b4723cd48a061ef6c5ccdb8bf .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uab505e5b4723cd48a061ef6c5ccdb8bf .uab505e5b4723cd48a061ef6c5ccdb8bf-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uab505e5b4723cd48a061ef6c5ccdb8bf:after { content: ""; display: block; clear: both; } READ: Painting the stage EssayThe Teatr na Pokrovke production of The Three Sisters shares some of Brooks pre-occupations, including repositioning the audience in relationship to the actors and the characters. Audience members sit at the Pozorov dinner table, eat sandwiches and apple cake, and are invited to take part in a birthday toast to Irina; when the table is cleared, the audience is moved to the side and the actors continue to play in their midst. The intimacy feels exhilaratingly intrusive; when Natascha unbuttons Andrejs shirt and runs her fingers through his chest hair, the close-ups are akin to sitting inside a television set. But the Russian troupes virtual reality-style Three Sisters is not ultimately as rich or evocative as the Wooster Group of New Yorks variation on the same play, offered with a companion adaptation of The Emperor Jones under the title Fish Story Parts I and II. Mixing live action with collaged sound and video, the Wooster Group uses character as mask, video as puppetry, and movement and sound as plot. The experience, part theatrical crossword puzzle and part jazz improvisation on Chekovs play, manages to reframe the text and discover contemporary reading of the Russian masters musings on the future of the past. The result is a theatrical world as foreign and familiar as Blade Runner and, despite Munichs beergarden camouflage, as dangerous as our own.