Introduction To Deaf Culture Course Syllabus Education Essay

Introduction To Deaf Culture Course Syllabus Education Essay This is a course to provide students an introduction to the unique aspects of Deaf Culture and Deaf community. This course provides in-depth discussion of the beliefs and customs of this sociolinguistic/cultural minority in relation to language use and history of Deaf people in the United States of America. This course is intended for students who are interested in learning about Deaf Culture and the Deaf community. III. REQUISITES: Advisory: ENGL 051 with a grade of C or better, or equivalent. or Assessment Skill Level W5 ENGL 056 with a grade of C or better, or equivalent. or Assessment Skill Level R5 Limitation on Enrollment: This course is not open to students with previous credit for SPED 104 STUDENT LEARNING OUTCOMES: Upon successful completion of the course the student will be able to: 1. Compare and contrast the phenomena of culture among Deaf people in the United States of America as seen from within that cultural group and as observed by people outside it. 2. Discuss, compare and contrast United States Deaf Culture and foreign Deaf Cultures. 3. Differentiate between the various aspects of United States of America Deaf community and Deaf Culture and United States of America Hearing communities and their culture(s). 4. Examine the relationships between Deaf children and their Deaf parents, Deaf children and their Hearing parents, and Hearing children and their Deaf parents. 5. Identify some basic values and behaviors of United States of America Deaf people related to language use; as opposed to sign system usage e.g. sign supported speech such as SEE1, SEE2; Oral Method; etc. 6. Describe how ASL fits into a linguistic framework and pattern. 7. Describe how American Sign Language fits into the family of human languages. 8. Summarize the historical ideas and perspectives from Hearing people about Deaf people, Deaf persons own perspectives about themselves. 9. Describe the historical development of Deaf Culture. 10. Identify past and present Deaf artists, writers and storytellers who influenced Deaf Culture and American Sign Language. 11. Compare and contrast the changing image of Deaf people and how the changes have influenced the art of Deaf people. 12. Identify and differentiate the social and political organizations of Deaf people. 13. Identify and describe the functions of various past and current devices used by Deaf people, and how these devices have changed over the years. 14. Describe how Deaf cultural values relate to technology and how technology has changed the Deaf Culture in the United States of America. V. COURSE CONTENT: The American Deaf: The phenomena of culture among Deaf people in the United States and foreign Deaf cultures. The American Deaf: Distinguishing the various aspects of United States of America Deaf/Hearing communities and Deaf/Hearing Cultures. Deaf Values and Behaviors: The relationships between Deaf/Hearing children and their Deaf/Hearing parents. Deaf Values and Behaviors: Some basic values and behaviors of United States of America Deaf people related to language use. The American Sign Language: Recognizing, comparing and describing how ASL fits into a linguistic framework and into the family of human languages. Deaf Heritage: Summarizing and describing the historical ideas, perspectives and development of Deaf Culture, and the perspectives held by Hearing and Deaf people. VII. The Deaf Culture in Art: ASL Literature and Deaf Artists: Some past and present Deaf artists, and the changing image of Deaf people influencing the art of Deaf Culture and American Sign Language. VIII. Organizations of Deaf People: Various organizations of Deaf people. IX. Technology and Deaf People: How technology affects the Deaf culture and the Deaf community. VI. METHODS OF INSTRUCTION: A. Question and Answer Sessions B. Discussions C. Homework assignments D. Videotapes E. Vlogs F. PowerPoint Presentations VII.STUDENT EVALUATION: The breakdown of each line item for grading purposes are as follows: The following exams will consist of various questions such as filling in the blanks, matching, multiple choice, paragraph, short answer, T/F, etc.: Midà ¢Ã¢â€š ¬Ã¢â‚¬ËœTerm Exam# 1 à ¢Ã¢â€š ¬Ã¢â‚¬Ëœ 30% (The American Deaf, and Deaf Values and Behaviors) Mid-Term Exam #1 begins on March 16, 2011 from 12:01am to March 23, 2011 12:00 midnight (take the exam anytime that week). [from PowerPoint, Lead Questions assigned pages from three required textbooks (see class schedule on p. 6-9) pertaining to The American Deaf, and Deaf Values and Behaviors]. Midà ¢Ã¢â€š ¬Ã¢â‚¬ËœTerm Exam #2 à ¢Ã¢â€š ¬Ã¢â‚¬Ëœ 30% (The American Sign Language) Mid-Term Exam #2 begins on April 13, 2011 from 12:01am to April 20, 2011 12:00 midnight (take the exam anytime that week). [from PowerPoint, Lead Questions assigned pages from three required textbooks (see class schedule on p. 9-10) pertaining to The American Sign Language]. C. Individual Written Report à ¢Ã¢â€š ¬Ã¢â‚¬Ëœ 5% (see Roman numeral VIII Individual Written Report p. 3 p. 13-16 of the syllabus). 1. Due on May 16, 2011 D. Final Exam à ¢Ã¢â€š ¬Ã¢â‚¬Ëœ 35% (Deaf Heritage, The Deaf Culture in Art, Organizations of Deaf People, and Technology and Deaf People) Final Exam on May 18, 2011 from 12:01am to May 21, 2011 12:00 midnight (take the exam anytime during these four days). [from PowerPoint, Lead Questions assigned pages from three required textbooks (see class schedule on p. 10-11) pertaining to Deaf Heritage, The Deaf Culture in Art, Organizations of Deaf People, and Technology and Deaf People]. *Students with disabilities who may need academic accommodations should discuss options with their professors during the first two weeks of class. INDIVIDUAL WRITTEN REPORT: Each student is to select one textbook from pages 14 -16 of the course syllabus or a textbook not listed that focuses on the humanistic aspects of Deaf people (student must request approval from professor). Each student should follow the Written Report guidelines on page 13 of the course syllabus as closely as possible. *One Individual Written Report due on May 16, 2011. LEAD QUESTIONS: These are questions I have developed to prepare you for the Midterm Exams and Final Exam. Answers to Lead Questions will be provided on March 9th, April 6th, and May 11th. X. REQUIRED TEXTS: A. Ladd, P. (2003). Understanding Deaf Culture In Search of Deafhood, Buffalo, NY: Multilingual Matters LTD; ISBN: 1-85359-545-4 B. Lane, Harlan; Hoffmeister, Robert and Bahan, Ben (1996) A Journey into the Deaf World, Dawn Sign Press; ISBN: 0à ¢Ã¢â€š ¬Ã¢â‚¬Ëœ915035à ¢Ã¢â€š ¬Ã¢â‚¬Ëœ63à ¢Ã¢â€š ¬Ã¢â‚¬Ëœ4 C. Moore, M. S. Levitan, L. (2003). For Hearing People Only 3rd ed. Rochester, NY: Deaf Life Press; ISBN: 0-9634-016-3-7 XI. RECOMMENDED SUPPLEMENTAL TEXTS: A. Gannon, J. R. (1981). Deaf Heritage (A Narrative History of Deaf America), Silver Spring, MD: NAD Padden, C. Humphries, T. (2005). Inside Deaf Culture, Cambridge, Mass.: Harvard University Press Van Cleve, J. V. (1993) Deaf History Unveiled, Washington, DC: Gallaudet University Press STUDENT RESPONSIBILITY * Students are responsible to pay all fees and process the ADD code for the course within the established time frame. Students will not be able to continue in the course if the enrollment process is not completed within the given time frame. * Students are responsible to drop the course as to avoid the potential of having a grade be assigned for the course at the end of the course. *Students are expected to respect and obey standards of student conduct while in class and on the campus. (Policy 3100 and Procedures 3100.1 and 3100.2) Charges of misconduct and disciplinary sanctions may be imposed upon students who violate these standards of conduct or provisions of college regulations. In addition, instructors expect appropriate classroom participation and conduct. Monopolizing classroom discussions, being uncooperative, talking during lecture, using profanity, reading unrelated material, and using electronic equipment (texting, chirps, ring mode) are examples of behavior that may not be tolerated. Bringing children to class is not allowed. Regarding talking in class, the student will be warned once, and if the student disregards the warning, s/he will be requested to leave the class for (1) one day resulting in (1) one class absence. The next warning will result the student requested to leave the class and miss (2) two consecutive classes. This inevitably means the student will fall behind in his/her class work. *Cheating, plagiarism, or other forms of academic dishonesty are not acceptable and will not be tolerated in accordance with the college student code of conduct and basic standards of academic honesty. Violations of standards of academic honesty will be reported to the college disciplinary office for appropriate action. *If you have to miss a class, it is your responsibility to find out what you missed. There are three questions you should never ask the instructor: Did I miss anything? Of course you did. Did we do anything important? Of course we did. Can you tell me what I missed? No. You are responsible for everything that happens in a class, so you are responsible for gathering whatever information you have missed. *At the beginning of each of your classes, you should identify a study buddy, someone you can study with on a regular basis or just call in emergencies. AMSL 104 à ¢Ã¢â€š ¬Ã¢â‚¬Ëœ INTRODUCTION TO DEAF CULTURE Class Schedule Week One Jan. 24: Introduction and Overview UDC: Introduction: pp. 1-9, 14-19, 21-25, Ch. 1: pp. 32-39. Week One Jan. 26: The American Deaf The phenomena of culture among Deaf people in the United States and foreign Deaf cultures. Distinguishing the various aspects of United States of America Deaf/Hearing communities and Deaf/Hearing Cultures. The relationships between Deaf/Hearing children and their Deaf/Hearing parents. JDà ¢Ã¢â€š ¬Ã¢â‚¬ËœW: Ch. 5 pp. 124à ¢Ã¢â€š ¬Ã¢â‚¬Ëœ130. Week Two Jan. 31: The American Deaf The phenomena of culture among Deaf people in the United States and foreign Deaf cultures. Distinguishing the various aspects of United States of America Deaf/Hearing communities and Deaf/Hearing Cultures. The relationships between Deaf/Hearing children and their Deaf/Hearing parents. UDC: Ch. 1: pp. 26-32; pp. 39-48. Week Two Feb. 2: The American Deaf The phenomena of culture among Deaf people in the United States and foreign Deaf cultures. Distinguishing the various aspects of United States of America Deaf/Hearing communities and Deaf/Hearing Cultures. The relationships between Deaf/Hearing children and their Deaf/Hearing parents. UDC: Ch. 1: pp. 59-64; pp. 72-73. Week Three Feb. 7: The American Deaf The phenomena of culture among Deaf people in the United States and foreign Deaf cultures. Distinguishing the various aspects of United States of America Deaf/Hearing communities and Deaf/Hearing Cultures. The relationships between Deaf/Hearing children and their Deaf/Hearing parents. UDC: Ch. 5: pp. 232-266. Week Three Feb. 9: The American Deaf The phenomena of culture among Deaf people in the United States and foreign Deaf cultures. Distinguishing the various aspects of United States of America Deaf/Hearing communities and Deaf/Hearing Cultures. The relationships between Deaf/Hearing children and their Deaf/Hearing parents. FHPO: Ch. 10, 37,38, 39 40. Week Four Feb. 14: The American Deaf The phenomena of culture among Deaf people in the United States and foreign Deaf cultures. Distinguishing the various aspects of United States of America Deaf/Hearing communities and Deaf/Hearing Cultures. The relationships between Deaf/Hearing children and their Deaf/Hearing parents. FHPO: Ch. 51, 52, 53, 55 56. Week Four Feb. 16: The American Deaf The phenomena of culture among Deaf people in the United States and foreign Deaf cultures. Distinguishing the various aspects of United States of America Deaf/Hearing communities and Deaf/Hearing Cultures. The relationships between Deaf/Hearing children and their Deaf/Hearing parents. FHPO: Ch. 57, 58, 59, 60 77. *Week Five Feb. 21: Washingtons Birthday Week Five Feb. 23: Deaf Values and Behaviors The relationships between Deaf/Hearing children and their Deaf/Hearing parents. Some basic values and behaviors of United States of America Deaf people related to language use. JDà ¢Ã¢â€š ¬Ã¢â‚¬ËœW: Ch. 1 pp. 3à ¢Ã¢â€š ¬Ã¢â‚¬Ëœ23; Ch. 2 pp. 24à ¢Ã¢â€š ¬Ã¢â‚¬Ëœ41. FHPO: Ch. 21, 22, 23, 24, 44, 85, 90, 95. Week Six Feb. 28: Deaf Values and Behaviors The relationships between Deaf/Hearing children and their Deaf/Hearing parents. Some basic values and behaviors of United States of America Deaf people related to language use. JDà ¢Ã¢â€š ¬Ã¢â‚¬ËœW: Ch. 3 pp. 67à ¢Ã¢â€š ¬Ã¢â‚¬Ëœ77; Ch. 7 pp. 213à ¢Ã¢â€š ¬Ã¢â‚¬Ëœ227. FHPO: Ch. 104, 105, 106, 107, 108, 109, 110 111. Week Six March 2: Deaf Values and Behaviors The relationships between Deaf/Hearing children and their Deaf/Hearing parents. Some basic values and behaviors of United States of America Deaf people related to language use. JDà ¢Ã¢â€š ¬Ã¢â‚¬ËœW: Ch. 13 pp. 369à ¢Ã¢â€š ¬Ã¢â‚¬Ëœ378. FHPO: Ch. 112, 113, 114, 115, 116. Week Seven March 7: Deaf Values and Behaviors The relationships between Deaf/Hearing children and their Deaf/Hearing parents. Some basic values and behaviors of United States of America Deaf people related to language use. JDà ¢Ã¢â€š ¬Ã¢â‚¬ËœW: Ch. 15 pp. 408à ¢Ã¢â€š ¬Ã¢â‚¬Ëœ425. FHPO: Ch. 117, 118, 119, 120, 121. Week Seven March 9: Deaf Values and Behaviors The relationships between Deaf/Hearing children and their Deaf/Hearing parents. Some basic values and behaviors of United States of America Deaf people related to language use. JDà ¢Ã¢â€š ¬Ã¢â‚¬ËœW: Ch. 15 pp. 437à ¢Ã¢â€š ¬Ã¢â‚¬Ëœ451. *Answers to Lead Questions provided. Week Eight March 14: Deaf Values and Behaviors The relationships between Deaf/Hearing children and their Deaf/Hearing parents. Some basic values and behaviors of United States of America Deaf people related to language use. FHPO: Ch. 122, 123, 128, 130 131. Week Eight March 16 to March 23: Midà ¢Ã¢â€š ¬Ã¢â‚¬ËœTerm Exam #1 Week Nine March 21: The American Sign Language Recognizing, comparing and describing how ASL fits into a linguistic framework and into the family of human languages. JDà ¢Ã¢â€š ¬Ã¢â‚¬ËœW: Ch. 3 pp. 42à ¢Ã¢â€š ¬Ã¢â‚¬Ëœ51. Week Nine March 23: The American Sign Language Recognizing, comparing and describing how ASL fits into a linguistic framework and into the family of human languages. JDà ¢Ã¢â€š ¬Ã¢â‚¬ËœW: Ch. 3 pp. 63à ¢Ã¢â€š ¬Ã¢â‚¬Ëœ66. Week Ten March 28: The American Sign Language Recognizing, comparing and describing how ASL fits into a linguistic framework and into the family of human languages. JDà ¢Ã¢â€š ¬Ã¢â‚¬ËœW: Ch. 4 pp. 78à ¢Ã¢â€š ¬Ã¢â‚¬Ëœ123. Week Ten March 30: The American Sign Language Recognizing, comparing and describing how ASL fits into a linguistic framework and into the family of human languages. FHPO: Ch. 3 6. Week Eleven April 4: The American Sign Language Recognizing, comparing and describing how ASL fits into a linguistic framework and into the family of human languages. FHPO: Ch. 7 11. Week Eleven April 6: The American Sign Language Recognizing, comparing and describing how ASL fits into a linguistic framework and into the family of human languages. FHPO: Ch. 17 18. *Answers to Lead Questions provided. Week Twelve April 11 à ¢Ã¢â€š ¬Ã¢â‚¬Ëœ The American Sign Language Recognizing, comparing and describing how ASL fits into a linguistic framework and into the family of human languages. FHPO: Ch. 19 67. Week Twelve April 13 to April 20: Midà ¢Ã¢â€š ¬Ã¢â‚¬ËœTerm Exam #2 Week Thirteen April 18: Spring Recess: No classes held Week Thirteen April 20: Spring Recess: No classes held Week Fourteen April 25: Deaf Heritage Summarizing and describing the historical ideas, perspectives and development of Deaf Culture, and the perspectives held by Hearing and Deaf people. JDà ¢Ã¢â€š ¬Ã¢â‚¬ËœW: Ch. 3 pp. 51à ¢Ã¢â€š ¬Ã¢â‚¬Ëœ63; Ch. 14 pp. 379à ¢Ã¢â€š ¬Ã¢â‚¬Ëœ386. UDC: Ch. 2: pp. 90-133; Ch. 3: pp. 135-161. Week Fourteen April 27: Deaf Heritage Summarizing and describing the historical ideas, perspectives and development of Deaf Culture, and the perspectives held by Hearing and Deaf people. UDC: Ch. 7: pp. 297-329; Ch. 8: pp. 332-366. FHPO: Ch. 1, 4, 8, 13, 28, 29, 78, 99, 100, 101, 102 129. Week Fifteen May 2: The Deaf Culture in Art: ASL Literature and Deaf Artist Some past and present Deaf artists, and the changing image of Deaf people influencing the art of Deaf Culture and American Sign Language. JDà ¢Ã¢â€š ¬Ã¢â‚¬ËœW: Ch. 5 pp. 138à ¢Ã¢â€š ¬Ã¢â‚¬Ëœ158. Week Fifteen May 4: The Deaf Culture in Art: ASL Literature and Deaf Artist Some past and present Deaf artists, and the changing image of Deaf people influencing the art of Deaf Culture and American Sign Language. UDC: Ch. 1: pp. 48-56. Week Sixteen May 9: The Deaf Culture in Art: ASL Literature and Deaf Artist Some past and present Deaf artists, and the changing image of Deaf people influencing the art of Deaf Culture and American Sign Language. FHPO: Ch. 9, 61, 62, 63, 64, 65, 66 68. Week Sixteen May 11: Organizations of Deaf People, Technology and Deaf People Various organizations of Deaf people How technology affects the Deaf culture and the Deaf community. JDà ¢Ã¢â€š ¬Ã¢â‚¬ËœW: Ch. 5 pp. 131à ¢Ã¢â€š ¬Ã¢â‚¬Ëœ138; pp. 138à ¢Ã¢â€š ¬Ã¢â‚¬Ëœ158. UDC: Ch. 1: pp. 64-72. *Answers to Lead Questions provided. Week Seventeen May 16: Organizations of Deaf People, Technology and Deaf People Various organizations of Deaf people How technology affects the Deaf culture and the Deaf community. JDà ¢Ã¢â€š ¬Ã¢â‚¬ËœW: Ch. 15 pp. 431à ¢Ã¢â€š ¬Ã¢â‚¬Ëœ437. FHPO: Ch. 75, 76, 103 125. *Individual Written Reports Due. Week Seventeen May 18 to 21: Final Exam *Professor reserves the right to modify the instruction schedule Important Dates: February 4 à ¢Ã¢â€š ¬Ã¢â‚¬Ëœ Last day to receive and process an add code issued by the instructor. Last day to process and pay for add codes. Deadline to drop classes with no W recorded. February 7 à ¢Ã¢â€š ¬Ã¢â‚¬Ëœ Last day to drop and be eligible for refund of enrollment fees and/or nonà ¢Ã¢â€š ¬Ã¢â‚¬Ëœresident tuition.  · April 1 à ¢Ã¢â€š ¬Ã¢â‚¬Ëœ Withdrawal deadline à ¢Ã¢â€š ¬Ã¢â‚¬Ëœ No drops accepted after this date.  °Ã‚  It is the students responsibility to drop all classes in which he/she is no longer participating.    °Ã‚  It is the instructors discretion to withdraw a student after the add/drop deadline February 7th due to excessive absences.  °Ã‚  Students who remain enrolled in a class beyond the published withdrawal deadline, as stated in the class schedule, will receive an evaluative letter grade in this class. WRITTEN REPORT This report should be about 5 typewritten pages. Papers may be handed in early, but NO late papers will be accepted. The papers should be typed in DS (double spaced) with size 12 font. The first paragraph should briefly summarize the story idea as you understand it. The second paragraph should describe how you felt as you read the story. Did you experience any changes of feelings as you read along? What were they? Third, answer the question, Do you think this could have really happened? Explain your answer. This question may or may not apply to your story. Fourth, describe the major characters. What kind of people were they? Fifth, select one incident from the story that seemed especially important to you and why you chose that particular incident. REFERENCE MATERIALS LIST (ASL or DEAF CULTURE Classes) DEAF CULTURE Bowe, Frank (1986) Changing the Rules, T. J. Publishers, Inc. Breindel, Tina Jo (1999) Quotes from Deaf Women for a Positive Life. Dawn Sign Press Cohen, Leah Hager (1994) Train Go Sorry: Inside a Deaf World, Random House Drolsbaugh, Mark (1997) Deaf Ate, Handwave Publications Eastman, Gil (2000) Just a DEAF Persons Thoughts II. Linstok Press Erting, Carol (1994) Deafness. Communication.. Social Identity. Sign Media, Inc. Erting, Carol J. Johnson, Robert C. Smith, Dorothy L. Snider, Bruce N. (1994) Deaf Way: The International Celebration of the Language. Culture. History, and Arts of Deaf People Gallaudet University Press Farb, Anita B. (1998) Unrealized Visions: Whats Next for the Deaf and Hard of Hearing Community?. NAD Garretson, Mervin D. (1994) Life Culture. Harris Publishing Co. Garretson, Mervin D. (1995) Life Culture II. Harris Publishing Co. Garretson, Mervin D. (1996) Historical Perspectives, Harris Publishing Co. Glickman, Ken (1999) A Proverbial Professors Points to Ponder. Harris Publishing Co. Hairston, Ernest Smith, Linwood (1983) Black and Deaf in America. T.J. Publishers, Inc. Holcomb, Roy Holcomb, Samuel Holcomb, Thomas (1995) Deaf Culture. Our Way. Dawn Sign Press Jacobs, Leo M. (1989) A Deaf Adult Speaks Out, Gallaudet University Press Jepson, Jill (1992) No Walls of Stone: An Anthology of Literature bar Deaf and Hard of Healing Writers. Gallaudet University Press Kannapell, Barbara (1993) Language Choice à ¢Ã¢â€š ¬Ã¢â‚¬Ëœ Identity Choice. Linstok Press Lane, Harlan (1992) The Mask of Benevolence. Alfred A. Knopf, Inc. Maher, Jane (1996) Seeing Language in Sign: The Work of William C. Stokoe, Gallaudet University Press Moore, Matthew Scott Panara, Robert F. (1996) Great Deaf Americans: The Second Edition, Deaf Life Press Padden, Carol and Humphries, Tom (1988) Deaf in America: Voices from a Culture, Harvard University Press Paris, Damara Goff Drolsbaugh, Mark (1999) Deaf Esprit: Inspiration. Humor and Wisdom from the Deaf Community, AGO Gifts and Publications Podmore, Ron (1995) Sins in Success: Profiles of Deaf Americans, Harris Publishing Co. Rutherford, Susan (1993) A Study of American Deaf Folklore. Linstok Press Sacks, Oliver (1989) _See~ g Voices: A Journey into the World of the Deaf, Harper Collins Schaller, Bob (1999) The Kenny Walker Story, Harris Publishing Co. Schein, Jerome D. (1989) At Home Among Strangers, Gallaudet University Press Stokoe, William (1980) Sign and Culture: A Reader for Students of ASL, Linstok Press Toole, Darlene (1996) Living Legends: Six Stories About Successful Deaf People. Butte Publications, Inc. Toole, Darlene (1998) Living Legends II: Six Stories About Successful Deaf People , Butte Publications, Inc. Winefield, Richard (1987) Never the Twain Shall Meet: The Communications Debate. Gallaudet University Press Woodward, James (1982) How You Gonna Get to Heaven If You Cant Talk With Jesus: On Depathologizing Deafness. T.J. Publishers Wright, Mary Herring (1999) Sounds Like Home: Growing Up Black and Deaf in the South, Gallaudet University Press DEAF HISTORY Albronda, Mildred (1994) Douglas Tilden: The Man and His Legacy, Mildred Albronda, Publisher Boynton, Douglas C. (1998) Forbidden Signs: American Culture and the Campaign Against Sign Language. 1847à ¢Ã¢â€š ¬Ã¢â‚¬Ëœ1920, University of Chicago Press Carroll, Cathryn Mather, Susan M.(1997) Movers Shakers: Deaf People Who Changed the World. Dawn Sign Press Gannon, Jack R. (1981) Deaf Heritage: A Narrative History of Deaf America NAD Groce, Nora Ellen (1985) Everyone Here Spoke Sign Language,, Harvard University Press Jankowski, Katherine A. (1997) Deaf Empowerment: Emergence. Struggle. Rhetoric Gallaudet University Press Lane, Harlan (1984) When the Mind Hears. Random House, Inc. Van Cleve, John (1993) Deaf History Unveiled: Interpretations from the New Scholarship, Gallaudet University Press Van Cleve, John and Crouch, Barry (1989) A Place of Their Own: Creating the Deaf Community in America. Gallaudet University Press AMERICAN SIGN LANGUAGE Battison, Robbin (1978) Lexical Borrowing In American Sign Language. Linstok Press Stokoe, William (1993) Sign Language Structure. Linstok Press Valli, Clayton Lucas, Ceil (1979) ASL PAH! ! Deaf Students Essays About Their Language. Sign Media, Inc. Wilcox, Sherman (1992) Academic Acceptance of American Sign Language Sign Media, Inc. Woodward, James (1994) Describing Variation in American Sign Language, Linstok Press

Meditations

SoP†A man's worth is no greater than the worth of his ambitions.† When I read Meditations by Marcus Aurelius little did I know the impact it would have on me while choosing my career path. At a very young age, I began to be fascinated by the role of money in our day today lives, this allure grew and it influenced my goals. It's with great deliberation that I have decided to pursue the Master of Finance course in your esteemed institution, since it is harmonious with my goal of being a Financial Analyst. This course appealed to me, due to its compelling curriculum. As I read through the syllabus I realised the foundations of the challenging course work would give me an in-depth understanding of concepts such as corporate finance, a subject which has always fascinated me. The convergence of each and every subject offered in the coursework during the two-year period shall not only provide the exposure I desire from the Master's program but will also allow me to lay the foundation to pursue my aspiration of Chartered Financial Analyst – a professional degree that one can aim to actualize since it will be in perfect synchronisation with the university's course program. Australia is also the choicest of countries to pursue my Graduate studies. Since I have always the admired their hospitable approach to international students, and the balanced and cultured perspective it imparts to the students who study there. I also believe pursuing my graduate degree there will not only improve my knowledge but will also help in my holistic development.My family has always inculcated in me the need for education and the value of hard work. All through my life, my parents would show me all their values not in words but in their actions. My mother who is an educator taught me that a good education is the profoundest of accomplishments. My father imparted to me the attitude of working with meticulousness and going the extra mile to succeed in my endeavours. They supported and encouraged my intellectual curiosity, and fostered my fledging interest in finance. They would patiently field my questions on the basics of economy and gave me the leeway to understand how they would budget our household expenses. With this strong backing I decided to attempt one of the most challenging exams in India, the Chartered Accountancy Exams. While preparing for this exam, I came to realise the complexities involved in accounting. The real learning began when I cleared the first level of the exam and started preparing for the Intermediary level. I was exposed to a variety of subjects including concepts of financial management, information technology and management principles. The core focus however, remained on accounts, finance, auditing, corporate and tax laws.As I studied I began to understand that the course of work I had chosen was challenging as well pushed me out of my comfort zone. I decided to complete my graduation in Bachelors in Commerce, to further enhance my understanding. After which I began work as an intern to get an incisive glimpse into the workings of an accounting firm. I got an opportunity to intern with Transaction Advisory Services at BDO India (erstwhile MZSK and Associates). The department specialised in valuation services, due diligences, other structuring options. As I started to get involved in various projects I began to find myself progressively drawn towards finance. As my work progressed, I soon began to immerse myself heavily into assignments, which made me understand that finance is indeed one of the key pillars of the business world. The end of the internship period bridged the gap between my ideals and real life, and clinched my dream of delving into the world of finance. This led to my decision to pursue Masters of Finance as against a Management degree since I was looking for something more niche and specialized. The job market in India provides plenty opportunities to those with skills in the field of finance including corporate finance and personal finance, however, the management programs here that are excellent in its own entirety do not allow a student seeking expertise in a distinct arena to flourish. India is now an emerging economy, the need for more specific expertise is on the rise, with the help of this program it would be an incredible contribution on my behalf to be able to apply the knowledge and exposure I receive at your revered university towards my ambition as well as the prove to be a contributing asset in the company of my choice in India. Therefore, this degree would be compelling factor that would decide my future career prospects. I would advance tremendously since your syllabus involves all the requisite skills that I would need to work with top tier firms. It would also be remiss if I fail to mention the advantages of being in a vibrant and vivacious environment that characterizes university life at ANU. I would like to further assert that this program would provide invaluable significance to my life and academic career. This program will give me opportunity to study with like minded individuals and the fortuity to collaborate with premier faculty both of which would impact my person greatly. Therefore, it would be an absolute pleasure to be admitted as a part of this program.

Jazz Heritage/The Roots of Jazz

Africa is the home of jazz, which spread to Europe and all throughout America. Today’s jazz music is influenced by the different countries mentioned. There are musical traditions and cultural traditions coming from Africa, Europe and America which contributed to the sound of jazz today. As jazz developed, it was centered in New Orleans (Yurochko 3). To better understand why jazz sounds the way it does today, it is best to examine its roots one by one, country by country. Africa The life in Africa is centered around the tribe. All its members participate in Every activity, function and ritual in the tribe. African tribes were highly interactive and participatory because all of its members always found a way to contribute and cooperate and common gatherings and functions (Yurochko 3). From this, it can be inferred that the musical activities of the tribe were also interactive and participatory. Because of these characteristics, the music they created was full of dynamics. No single member of the African tribe just sat down. No one just listened. All of them were tied to everything that was happening in the tribe. As a result, music was functional as it was properly suited to all the activities and events in the tribe (Bjorn and Gallert 178). What was unique in Africa was how people listened to music. In this country, one cannot find a single concert hall. Everybody gathered themselves in just one area to listen to music. Listening to music was a significant part of the tribe’s lives. In Africa, there were different types of sounds fit for different types of occasions. There was music for marriage, death and births. There was music even for chopping down a tree, or clearing out a path. What music was to Africans was a social glue that united all members of the tribe together (Yurochko 3). Meanwhile, the characteristics of African music can explain why jazz music rooted from Africa. African music makes the body perform. It means that the music alone involves the body by making it dance, sway to the beat, clap, and pound a rod on the ground. Apart from the musicians themselves, all members of the audience were also joining the fun. Africa music makes everyone sing, too (Bjorn and Gallert 178). Africans used different musical instruments like aerophones, idiophones and cordophones. The bass sound of the music was mainly acquired from the drum. African music was full of drums which came in different shapes and sizes. The drum was their main instrument which Africans produced from hollowed out logs and gourds. Across the opening of the drum was a stretched animal skin (Bjorn and Gallert 178). What makes jazz so â€Å"African† is its rhythm, since African music is highly characterized by the emphasis on rhythm. Cross rhythms and polyrhythms were made by African drummers, both of which were major contributors to the driving force of jazz or African music (Bjorn and Gallert 178). The beat of jazz and the beat of African music can be demonstrated by creating a single beat, and dividing it into two. The other half should be given two claps to a single beat. The other hand will be given three claps to a single beat. This is a simple polyrhythm compared to how much jazz has developed through time. The basic principle behind jazz beats is two beats against one (Bjorn and Gallert 179). African sound seems unorganized, and this is what jazz is all about. It is because of the more complex polyrhythm found in African music. Each beat of the drum has an already set rhythm. Then again, once this beat is combined with other drums which also have their own set rhythms, then that is where the complicated sound is produced (Bjorn and Gallert 180). Another characteristic of African sound which can be found in jazz music is the pentatonic scale. A pentatonic scale can best be seen in a piano. The scale is defined by five notes, thus the term â€Å"penta†-tonic, with the chords C, D, E, G and A. This musical scale can also be found in the music of Peru, Mexico, Scotland and Japan (Salzman and the American Studies Association 961). In Africa, singers sing and the members of the audience respond. African musicians can also chant a melody, and the rest of the people in the venue react with the type of response already established in the society. In Africa, this is called â€Å"call and response†, which is also highly used in jazz. In jazz, though, the way people respond is different. This can be seen in many churches with people singing jazz praise songs (Salzman and the American Studies Association 961). The characteristics of jazz can be traced back to the African music’s characteristics, too, in which bending tones, falsetto, buzzes in the voice, raspy tones and vocal manipulation can be found. No vocal sound is ever produced. Letting out their feelings and expressing themselves by belting out what and how they were feeling an emotion contributed to the very distinct characteristics of jazz music. The tones were also not organized. As a listener listens to a jazz music, he will mostly find the singer reciting words spontaneously (Henson 48). Europe Europe influenced jazz music through harmony and instrumentation. The harmonies in jazz music are characterized by diatonic scale. Jazz music is highly diatonic, and diatonic, in this case, is an expanded version of the pentatonic scale coming from Africa. Chord progressions from the European or Western sound influenced today’s jazz music. Europe contributed a big part of the instrumentation of jazz. Instruments from Europe used in jazz music are clarinets, trombones and trumpets. Most of the European instruments used gave jazz music its symphonic nature (Henson 48). The birthplace of jazz music is mainly in New Orleans. The people of the city made use of what they were hearing from Africa and Europe, combined the different techniques and various musical styles to technically call the new genre â€Å"jazz† (Henson 48). New Orleans: New Orleans was undeniably successful in giving birth to jazz because of various components. One of these factors is its location. Since New Orleans is located at the tip of the Mississippi River, it was easy for people to bring in jazz to the area. The river made it easy for New Orleans to export music to different parts of the globe, too, which made the music genre jazz, became popular in a very short period of time upon its conception (Brown 74). The Mississippi River was a very important factor in making jazz a popular genre because it has touched various states in America. Several states which were considered areas for slaves contributed in New Orleans’ highly diverse population. Since the city became a busy seaport, it also developed into becoming the gateway to the islands of the Caribbean (Henson 48). It is also important to study the demographics of the people in New Orleans as this is related to the development of jazz. The city is a very unique one because even before it was a state of America, it has been under the flags of France and Spain. When one would visit New Orleans, one would see how diverse the population is because of the different ethnic groups found in the city. Because of the diverse population, there was also a diverse culture. Cultural diversity helped in improving the quality of jazz music (Brown 74). The races inhabiting the city defined jazz music. The different cultures taking place made jazz what it sounds today. Since French people were among those who were occupying New Orleans, the tradition where they allowed males to have their mistresses was a big influence to the music. Several men chose women who were light skinned, and they went for those who had mixed blood. Most of these women were found in the southern part of New Orleans. Because of this, the group of lower class blacks grew and became known to the city (Henson 48). The black creoles were widely accepted in New Orleans, especially by the white society. However, it didn't stay this way for too long. They received the same privileges and rights from the government. In 1984, a law was passed by the Louisiana Legislature which suggested that people with African blood were labeled as â€Å"Negros†. Because of this, the black creoles were driven away from New Orleans. They had no choice but to join the black culture (Henson 48). The joining of the pure blacks and the black creoles (cross between black and light-skinned) gave birth to the full development of a new music which is now referred to as jazz. Slaves from different parts of the globe who were pushed to the United States possessed nothing but their clothing. Then again, they brought not only clothes in the United States, but music, too. They brought their heritage and culture. They shared their musical practices in the United States, specifically in New Orleans (Brown 74). Because of the struggle of the black culture, New Orleans slowly became identified as the city of refuge for blacks. All freed slaves and escaped slaves fled to New Orleans. They all gathered in Congo Square during Sundays because this was their only chance to be together and celebrate their culture. During these days, they all participated in the African culture where they played drums, sang and danced (Henson 48). New Orleans is then the breeding ground of musical activity. Numerous musical ensembles can be found here, like brass bands, musicales, opera companies and orchestras. Up to this day, there are still musical parties being held in the city. What made jazz sound disorganized and highly syncopated today is the merging of the musical influences of black slave culture and the black creoles. Their different cultures and distinct musical style made jazz sound like it does today. How jazz is being played is merely a result of the amalgamation of different tempos, beats and styles through time. Examples of African musical activities that highly influenced today's jazz music are rhythmic emphasis, African field holler, interactive music and the call and response ritual. All of these found a space into the style of jazz (Brown 74).

The Basic Theological Ideas Regarding A. The Triune God

1. Describe your basic theological ideas regarding: a. The Triune God As Christians, we confess the Shema—â€Å"God is one.† Yet, this creator God has â€Å"revealed himself† as Triune: â€Å"Father, Son and Holy Spirit, distinct but inseparable, eternally one in essence and power.† To say that God is Triune is not to confess three gods, but rather one God in three persons. This central teaching of Christianity asserts the worship of Father, Son and Holy Spirit as one God in unity and simplicity. Charles Wesley proclaims this co-dignity of worship to the three distinct persons of one Triune God in his Hymns on the Trinity 1767: Thee, holy Father, we confess/ Thee, holy Son adore, Thee, Spirit of true holiness,/ We worship evermore ... Supreme, essential One adored/ In coeternal Three. Traditional Trinitarian language states that God is one ousia (substance/nature/essence) and three hypostases (persons). To stand within orthodox Christianity is to confess the Athanasian Creed—â€Å"That we worship one God in Trinity, and Trinity in Unity; neither confounding the Persons; nor dividing the Essence.† Each person of the Trinity is consubstantial, co-eternal and co-equal in glory and majesty. This understanding of the Trinity is essential to what it means to be a Christian. For this reason John Wesley is able to say in his sermon â€Å"On the Trinity,† â€Å"It [the Trinity] lies at the root of all vital religion.† However, while the Trinity is something we confess by faith, it nonetheless remains aShow MoreRelatedThe Doctrine Of The Trinity1600 Words   |  7 Pages Augustine and the Trinity Introduction The doctrine of the Trinity is often viewed as an archaic and abstract theory many churches and theological study programs settled on long ago, and therefore, has little relevance to modern Christian faith. 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